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

PICTORIAL STORY NEAR KUDROS A collaboration between photographer and poet, capturing the essence of Cutro’s landscapes — where image and word come together to reflect its quiet beauty. June 15, 2022 PICTORIAL STORY photography FRANCESCO MERCADANTE words DANIELA CERRATO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Near Kudros (Cutro) ...where the imagination takes you by the hand There are places where nature plays a decisive role in our thoughts and words sometimes struggle to express the enormous charm captured by the senses. Therefore, it happens that to reinforce the idea of beauty, a synergy of expressive forms (painting, photography, storytelling, poetry, music...) comes to the aid which together make a creative effort useful to better convey the idea of how "powerful" the influence of a landscape. This is where this need arises, the idea is from Francesco Mercadante, passionate about painting and photography, who thought of an interaction between photography and poetry to bring out the best of the beauty of Cutro, of which he comes from, offering me the opportunity to express in verse what he has captured with the lens. Let's start by getting to know the history that Cutro went through, interspersing the news with the splendid shots by Francesco Mercadante that highlight a particular area… Cutro was a town in ancient Magna Graecia and in Greek it was called Kyterion, Koutro/Kudros in Latin times, probably with the meaning of potter in Greek, since a lot of pottery was produced due to its clayey nature. Jumping to the second half of the 1500s, under Spanish rule, it became the most important granary in the area until it obtained the title of city from King Philip II in 1575. On March 8, 1832, in the early hours of the day the city was destroyed by a disastrous earthquake and most of it was razed to the ground with hundreds of victims. Until the mid-twentieth century, Cutro was the most populous and productive center in the area, but later it underwent an important emigration, first to Germany and later to northern Italy: in particular to Emilia and Lombardy. The largest community of Cutrese origin is located in Reggio Emilia A pleasant climate for most of the year its peculiarity is the natural beauty of the area that includes Cutro and Roccabernarda where the so-called badlands give the landscape a suggestive, almost surreal face, also composed of clay monoliths, biancane and hills cultivated with wheat and for this reason defined as yellow dunes . They are the same dunes that Pier Paolo Pasolini in his reportage The Long Sand Road published in the magazine Success in 1959, described as follows: “...Then the road leaves the sea and enters an area, all yellow, with hills that look like dunes imagined by Kafka. Some peasants return on horseback, or on some very slow old carts, along the infernal road, without a tree around...” Pasolini chose it to shoot some scenes of The Gospel according to Matthew and later affirmed that: “the Calabrian landscape is enhanced, with its marvelous natural contrasts, in which gentle slopes contrast with violent rocky jolts” ...and more... “In Calabria the most serious of crimes was committed, for which no one will ever answer: the pure hope, the somewhat anarchic and childish hope of those who living before history, still has the whole of history ahead of him, was killed.” The particularity of the area has been perfectly transferred into captivating images in the photographic reportage by Francesco Mercadante who has masterfully collected the suggestion and magic of the place and allows the observer to immerse himself in the enchantment, in that dose of surreal that hovers in the veiled and rarefied atmosphere of the views; as he himself stated: “What I photographed are not images but a reproduction of myself, that is the landscape that entered me and became a photograph. I set my camera to a long exposure then closed my eyes and photographed the yellow dunes.” I have never visited those places but Francesco's talking images were an excellent guide and inspired me to write the poem Kudros in which I tried to best collect the spirit with which he perceived and reproduced the incredible aura of that land. © Francesco Mercadante © Francesco Mercadante © Francesco Mercadante © Francesco Mercadante © Francesco Mercadante © Francesco Mercadante © Francesco Mercadante Kudros where the body returns to clay pre-genesis silence dominates, the light envelops, disorients, bewilders the senses. Bare clay, lizard in the sun, asks the wind faint blow to the traveler the enthusiasm of the senses to grasp the elusive. Beyond the dunes it descends towards the coast an echo of stories and voices, clearer lights anticipate the sea but in this delirium of sand the mysteries of Oinotria dwell Inviolable, deep, ionic. - Daniela Cerrato, April 2022 view Francesco's portfolio Read an interview with Francesco >>> Website >>> Instagram >>> Visit poet Daniela Cerrato's website >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

WITHIN WITHOUT Neil Johansson wanted to document not just the empty shop spaces themselves, but the interplay between them and their surrounding world. WITHIN WITHOUT August 10, 2020 INTERVIEW PHOTOGRAPHY Neil Johansson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photography has long been a way to capture moments, emotions and places that otherwise may have gone unnoticed. For British street photographer Neil Johansson, it was a passion to document the everyday lives of urbanites and their forgotten spaces. But what Neil found was that these spaces weren't as empty as they seemed. Through his lens, the reflections of the surrounding world and the people inhabiting it were revealed. Spanning from towns to cities across England and Wales, Neil's images tell a story of our ever-changing world - a familiar scene with which we have become all too familiar. In this interview with Neil, we delve deep into his journey as a photographer, the lessons he has learned, and ultimately the powerful insight he has gained from his captivating photography. It's an exploration into the life of a street photographer - a journey worth taking. “High streets have always been places where you could do your shopping in many and varied independent shops. Recently however, large supermarkets have been built on the outskirts of our towns and as a consequence, with their huge car parks and the ability to buy everything you need in one place, the small independent shops of our high streets have suffered. In addition the rise of online shopping has contributed further to their demise. This has led to empty spaces that often remain unfilled. The sad truth is that months and indeed years can go by before they are occupied again.” IN CONVERSATION WITH NEIL JOHANSSON THE PICTORIAL LIST: Neil, when did you start getting interested in photography? NEIL JOHANSSON: I took photography for A-Levels at School. But it was only after university I seriously got into photography. I just started walking around my town with my camera. In 2013 I won a place on Goldsmiths’ International Urban Photography Summer School which took place in 2014 and I never looked back. TPL: Where do you find your inspiration to photograph? NJ: When I started I tended to take photos of anything that caught my eye, it’s only later on where I’ve really looked at other art works for inspiration. Subsequently I’ve found my inspiration from films, a lot my work is inspired by film noir and neo noir. Also I’ve been inspired by paintings and album artwork. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NJ: At first I was more inspired by artists, Edward Hopper in particular. But I subsequently started looking at other photographers work. Saul Leiter has been a big influence on me as has filmmaker and artist David Lynch, in terms of unusual composition and capturing atmosphere respectively. TPL: Has your style of photographing changed since you first started? NJ: When I started I tended to shoot quite a lot, filling SD cards easily. I have become much more focused now, I instinctively know what I’m after. TPL: Where is your favourite place to photograph? NJ: I have a few places I like. Chester is one of my favourites, it’s really great for getting noir images. Rhyl, my home town, is another, there’s just so many aspects to it, almost like having different zones and it is again great for capturing noir shots as the light is often really good. Intuition is the key to everything, in painting, filmmaking, business – everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness occurs. - David Lynch TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? NJ: To some extent you need a decent camera to get the shots, but really it’s about the eye. So to begin with the best thing you can do is grab a camera and start shooting, and just keep on shooting as often as possible. By doing that you work out what you like and what you don’t like, you become more focused after a time and suddenly you find you’ve developed a style. TPL: What characteristics do you need to become a 'good' street photographer? NJ: Patience is certainly a very important quality to have. You’re not going to get those great shots straight away, as with anything worthwhile it takes time. It’s very important to keep going and not to give up and to enjoy the process. TPL: Have you ever been involved in the arts before photography? NJ: Not as such. I did Art for GCSE and A-Level. My mother was Head of Art at my School and I learned a lot about art from her. She even showed me how to use Photoshop when I was starting out. TPL: Are there any special projects you are currently working on? NJ: I am working on several projects. I have produced a zine of my work called Rhyl Noir, which features black and white noir shots of my hometown. This is ongoing. I am also working on Noir By Northwest, which is again black and white noir shots but of towns and cities across the Northwest of England. Lacuna is another project about capturing gaps in life, things that are overlooked or very brief moments in time. This is in its early stages. Within-Without is also ongoing, and I hope to produce a zine as soon as possible. TPL: If I wasn't photographing what would I be doing?... NJ: I think I would have ended up doing something creative, it’s in my nature. I’m just not sure what that would have been. Neil Johansson's street photography captures the complexity of the world around us. His images reveal a story that is both familiar and unexpected, bringing life to the forgotten places and moments that many of us take for granted. By taking the time to document the lives of urbanites and their spaces, Neil has created a powerful insight into our ever-changing world. We encourage you to view Neil's photography and take a journey into his captivating world. VIEW NEIL'S PORTFOLIO Neil's 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.

Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. BETTY GOH Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. LOCATION SINGAPORE CAMERA/S Leica Q2 and Q3 WEBSITE https://www.bettygohphotography.com/ @BETTY_GOH_PHOTOGRAPHY FEATURES // Visual Healing Beyond the Diagnosis

Born 1961 in Germany, and living in Spain since 1999, I have been taking photographs since 1980, which at that time of course, it was still analogue. In the 90s I studied art and music with a focus on photography and land art. Since 2005, I have been photographing digitally, first in landscape photography, then, due to my job as a chef, in food photography. This developed into a kind of storytelling and I invented a Mallorca photo blog with photographic views from the island, off the mainstream type of photography. There I was already doing street photography without really knowing anything about it. Then in December 2017, I took a picture in Stockholm on the street and a person ran through my picture! With adrenalin I pressed the shutter and didn't know what had happened. It was clear that the picture got a completely different meaning and I started to photograph further in this direction. This was now my thing! Then I did some research and have since learned about street photography. I study everything that has to do with it and develop myself further. Since 2021, I have been on the road professionally, giving workshops and have been lucky enough to have had some of my pictures awarded internationally. JENS F. KRUSE Born 1961 in Germany, and living in Spain since 1999, I have been taking photographs since 1980, which at that time of course, it was still analogue. In the 90s I studied art and music with a focus on photography and land art. Since 2005, I have been photographing digitally, first in landscape photography, then, due to my job as a chef, in food photography. This developed into a kind of storytelling and I invented a Mallorca photo blog with photographic views from the island, off the mainstream type of photography. There I was already doing street photography without really knowing anything about it. Then in December 2017, I took a picture in Stockholm on the street and a person ran through my picture! With adrenalin I pressed the shutter and didn't know what had happened. It was clear that the picture got a completely different meaning and I started to photograph further in this direction. This was now my thing! Then I did some research and have since learned about street photography. I study everything that has to do with it and develop myself further. Since 2021, I have been on the road professionally, giving workshops and have been lucky enough to have had some of my pictures awarded internationally. LOCATION Mallorca SPAIN CAMERA/S Fujifilm X100v, Lumix GM5 WEBSITE http://www.jfkstreetphotography.com @JFKSTREETPHOTOGRAPHY FEATURES // Stories in Garbage Fragments of Time

WITH AN OPEN LENS AND HEART Pavieł Hančar finds the beautiful and uplifting where it is not visible at first glance, approaching life with an open lens and heart. WITH AN OPEN LENS AND HEART July 2, 2021 INTERVIEW PHOTOGRAPHY Pavieł Hančar INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The stunning work of Pavieł Hančar captures the beauty of everyday life in Belarus. With an open lens and heart, he approaches his photography with an unassuming, monochromatic style. He chooses to view the world through the eyes of a beginner, allowing for true moments of revelation to be revealed in his work. Through his breathtaking shots, Pavieł seeks to demonstrate that beauty can often be found in the most unexpected places. His unique approach to photography allows him to capture the spirit and soul of the people he photographs, creating vivid and moving images that will captivate any viewer. With a passion for capturing life’s beauty, Pavieł Hančar is an exceptional documentary and street photographer whose work will remain timeless in its appreciation of the world around us. “I really appreciate my amateur status in photography - it allows me not to put pressure on myself and not to burn out. Really, nothing bad will happen if I return from a walk without a good shot. An editor will not shout at me, colleagues will not look reproachfully…But it allows me to go shooting as if I am doing it for the first time: without guarantees, without impudence, without prior vision of the results. In this particular state, when you are just a conductor of God's will, not a hunter, in my opinion, you let the best pictures happen. At least, I strongly believe in it.” IN CONVERSATION WITH PAVIEŁ HANČAR THE PICTORIAL LIST: Paviel please tell us about yourself. Talk to us about your work and life in Minsk. When and how did you become interested in photography? PAVIEŁ HANČAR: I was born in the small Belarusian town of Naroulia, on the banks of the Pripyat River, 49 years ago. My family and I now live in a village near Minsk, I work as the executive director of a group of IT companies, and in fact, I do not have much time for photography, but I always carry a camera with me, and it works from time to time. I have been photographing since childhood, and my father, who took our family photos and had a full set of equipment for the "dark room", once instilled interest in me. He gave me my first camera, it was a semi-format "Chajka" with 28mm Industar lens, and I was absolutely fascinated by miniature sharp negatives that I could look at for hours. Many years later, photography came back to my life when I already had a son too. One day, taking a camera with me when leaving home, I made an almost random shot in the building of the former monastery, which now houses a music school. Then for a long time I could not take anything better by form and content. That time, it made me realize what I was interested in and what I was going to do as a photographer. The story happened almost 20 years ago, the frame was not lost, I kept it at the bottom of my Instagram page as a memory. TPL: You seem quite interested in documenting traditional customs and arts in your country. What is is that you find especially interesting about that? PH: People. It is there that I meet most of "my" people, loved in Belarus, smart, beautiful, passionate about the common cause. It is my job to take photos of them as best I can, and, hopefully, an atmosphere of folklore festivals is usually conducive to good pictures. TPL: In general regarding your photography, where do you find your inspiration to create? PH: As a professional manager I am very sensitive to everything that concerns motivation. So I try not to manipulate and don’t look for inspiration on purpose. I really appreciate my amateur status in photography - it allows me not to put pressure on myself and not to burn out. Really, nothing bad will happen if I return from a walk without a good shot. An editor will not shout at me, colleagues will not look reproachfully… But it allows me to go shooting as if I am doing it for the first time: without guarantees, without impudence, without prior vision of the results. In this particular state, when you are just a conductor of God's will, not a hunter, in my opinion, you let the best pictures happen. At least, I strongly believe in it. TPL: Do you have a favourite place to photograph? PH: I do not know what to do with the answer to this question, but the best pictures in the last couple of years I took in Zaslauje - a small town near Minsk. I didn’t analyze why, just so it turned out, it’s a good place with good people. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PH: Yes, I have. I love French humanist photographers, but the most - Edouard Boubat, in whose work I find exactly what touches me, and I feel it closest to my worldview. Yes, he may not be as noble a master of composition as Cartier-Bresson, not the author of hundreds of iconic street photos like Doisneau, but I really like the modest poetics and tenderness in his shots. And, like him, I realize I am "a kind street photographer". I do not need a frame for which I would need to insult a person or expose him in a bad world. Really, don't. I am definitely a 50mm person, I have this “frame” in my mind when I look around without a camera. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. PH: Definitely, the second way. Yes, I can choose the best location, the right light, the most interesting characters, but none of that guarantees a great shot as a result. Professional one - yes, usually it does. But really great shots are the gifts. And if you are worthy of the gift, you will receive it. It may seem like an ineffective strategy, but in real life - on the contrary, the most beautiful shots are brought by such an approach. 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? PH: Yes, I need restrictions for not thinking about equipment. I lived for 10 years with a Rolleiflex 2.8F, and it was enough for everything I did. Now the same role is played by Leica Monochrom. I'm sure I'll take "my" shots with this camera, I'm pleased to have it with me every day, and I know that I will be happy with the result. As for the lens, it is always a painful topic to choose: 50 or 35mm. Despite the greater versatility of the second, I am definitely a 50mm person, I have this “frame” in my mind when I look around without a camera. And as for resulting prints, I prefer the natural perspective of 50mm, they can be entered by sight as if in a window. I don’t get the same feeling from wide-angle shots. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? PH: There, on a walk, a grateful observer, or a grandfather who photographs his first grandchildren. Hopefully a happy guy in both guises. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PH: Yes, I recently joined an interesting ethnographic project as a volunteer. The project is called Shtetlfest and is dedicated to finding the remains of Yiddish culture in Belarusian, Ukrainian and Polish towns. This is what I used to see in my childhood, and what makes Belarus distinctive, whose people have always been famous for their tolerance of different cultures. Hope this will be an interesting experience. Maybe good shots will be too. TPL: “When I am not out photographing, I (like to)… PH: Read. Contemporary fiction in the Belarusian language is my second passion after photography. You may have heard how miserable the state of my Belarusian language is in Belarus after more than 200 years of planned Russification, which is still going on by the ruling regime for certain economic benefits. I try to support the publication of books in the Belarusian language, participate in crowdfunding, and above all, I am a grateful reader for Belarusian authors. Literature that is born from your life, in which there is a pulse of events that excite you, is much sharper and more interesting than a classic, no matter how good it is. Practically like photography!” Pavieł finds the beautiful and uplifting where it is not visible at first glance, approaching life with an open lens and heart. Connect with Pavieł on Instagram to see more of his inspiring photography. VIEW PAVIEŁ'S PORTFOLIO Read JURJEVO by Pavieł 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.

HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. HUMAN CONTACT June 16, 2023 INTERVIEW PHOTOGRAPHY Jan Ponnet INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Street photography for Jan Ponnet is an exciting form of photography where he can capture the spontaneous moments of everyday life on the street. Born in Antwerp, Belgium and now living 15km from the city in Sint-Katelijne-Waver, Jan trained as an engineer and had his own business in the central heating industry. Since his retirement, Jan has picked up the thread of photography full-time again. “My passion for photography lies in the street. It is challenging because it often involves observing and looking for something interesting in an ordinary place. It involves also photographing unknown people in public spaces, without asking their permission. When people say no, it is important to respect their decision and not be intrusive. Although most people say they don't want to be photographed, only an extremely small number confirmed this to me - the vast majority quietly allowed me to do it in a way that says: look at me!” Jan is a street photographer who wants to “look for the snapshots that try to portray a positive mood, a smile, a tender moment or just the image at the right moment.” By walking through the streets and observing people's behaviours, Jan tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. “I was about 20 years old when, before the digital age, I watched images appear in the darkroom, in the developing pool. Turning a moment, a flash, into a lasting image grabbed me and I still have that feeling. The play of light and human contact brought me to the streets.” IN CONVERSATION WITH JAN PONNET THE PICTORIAL LIST: Hello Jan…welcome to The List! Let's start by telling us something about yourself. JAN PONNET: I was born and raised in Antwerp. With an engineering degree and experience in some big companies, I started my own central heating business. When it turned out that none of my children would continue the business, I sold everything. Around age 60, I then found the time to photograph more. Now it is an out-of-control passion. TPL: Could you tell us what growing up in Antwerp has inspired in your work? What special qualities unique to this city influence your street photography and the way you portray your community? JP: Antwerp is one, by Belgian standards, of the bigger cities—a port city with a multicultural and generally accessible population. However, I don't think Antwerp has anything specific photographically. I think I can photograph in any city. you just have to look, see, feel... TPL: What first attracts you in the moment, movement, light, color, or texture? Or do people and their personalities play an important role in how you portray them? JP: When portraying a city, I first look for a suitable background. Then I just wait for someone to pass by. Like love at first sight, I pick out someone who I think will do well. After a brief introduction, most of my actors are willing to be portrayed. So far, I have rarely been wrong. TPL: Where do you find your inspiration to create? JP: Outside exhibitions and books, there is so much to follow on the internet these days to broaden your horizons. TPL: Does having a spontaneous approach to your street photography allow for the serendipity at the moment to dictate the frame? JP: Of course, you need some luck to capture a decisive moment. But I believe in the fact that this is also a matter of practice. The more practice, the more you see, and feel the moment coming to dive into the scene. With many people, I have a nice chat before or after photographing and that gives me great satisfaction. TPL: What was one of your favorite moments photographing in the street? Where was it? And why? What are some of the challenges that you have faced out photographing on the street? JP: One of those favorite moments are parades, manifestations, processions. These are the favoured circumstances for me to focus not on the subject of the day but on the bystanders. The challenge is not to contravene privacy rules. So always be friendly and accommodating because of privacy states. You cannot get a good expression on demand, you have to shoot this directly. With a little chat afterwards is usually OK. If not, the customer gets his way! But always be friendly and accommodating. TPL: Do you have favorite locations you like to point and shoot, or do you prefer the challenge or inspiration of new locations? JP: I don't feel tied to certain locations. It's always fun to explore new surroundings. The reason why can be very different…look, a smile, clothing, a silhouette, a pose. As long as there is someone around, and preferably with whom we can make contact. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? JP:There are of course the classics, for example, Henri Cartier-Bresson, Vivian Maier, Fan Ho, and Capa because very frequently I ask myself: was I close enough to it? On social media I follow inspiring photographers such as Alan Schaller, Paul Reid, and Chris Mozyro. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your wishlist? JP: I started with one of the first Minolta reflex cameras. I'm not going to be flippant about equipment and whine about its unimportance. Currently, I walk around with a Leica 10M, simple, small, and handy. When I want to dive into the scene and frame it into a fascinating environment, I take a 28mm. Portraits I do on the street usually with a 50mm TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals for the next 3-5 years? JP: I do walk around with some ideas. In recent years, I've been staying in different cities for several months. The best way to be immersed in the city and its population. So follow me. TPL: “When I am not out photographing, I (like to)... JP: I like traveling and visiting cultural places and museums. My passion naturally involves a lot of walking, which I hope is good for my health…haha. In the evening I like to play Bridge the card game.” Jan's passion for street photography is inspiring and shows just how creative and beautiful photos can be when taken in unexpected places. Through his work, Jan has shared an appreciation of street life that many of us never get to see. It is a reminder to keep seeking out the beauty in everyday moments and to not take life for granted. We should all take a page from Jan's book and strive to live life to the fullest and capture those special moments. If you would like to connect with Jan and see more of his work, please follow the links below. VIEW JAN'S PORTFOLIO Jan's 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.

PICTORIAL STORY MOMMIE A heartfelt tribute to the strength of family across three generations of women, capturing the timeless threads of love, loss, and resilience that bind them together. May 12, 2024 PICTORIAL STORY IN MEMORY OF ARLENE GOTTFRIED 1950-2017 photography ARLENE GOTTFRIED story ARLENE GOTTFRIED introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The Pictorial List is honored to present to you a gift for Mother’s Day from the archives of late photographer Arlene Gottfried. Arlene Gottfried is not only one of the most profound photographers of their time, but a testament to the unconditional love and devotion she shared with her family. For generations, the women of her family were strong role models and the matriarchs of the family. They were her strength, wisdom, mentoring her and supporting her, while simply loving her. Arlene captured the essence of New York City’s vibrant tapestry throughout her adult life through her photography. Brilliant visual storyteller, Arlene was born in Brooklyn in 1950. Arlene’s work resonates with authenticity, empathy, and a keen eye for the human experience. Her photography spans decades, reflecting the city’s evolution and the diverse lives that inhabit its streets. With a unique blend of humor, warmth, and candidness, Arlene’s images offer glimpses into the lives of everyday people, often marginalized or overlooked, yet pulsating with vitality and resilience. She immortalized the raw beauty and undeniable charm of New York’s neighborhoods, portraying moments of joy, sorrow, celebration, and solitude with equal reverence. Arlene’s legacy as a photographer is defined not only by her technical prowess but also by her unwavering dedication to capturing the heart and soul of the city and its inhabitants. Mommie , a book Arlene carefully created and published with Powerhouse Books , offers a compelling glimpse into the intimate world of motherhood through the lens of a gifted photographer. In this captivating collection, Arlene invites readers to embark on a visual journey that celebrates the complexity, tenderness, and resilience of maternal love. She was an observer, seeing all the intricacies in different personalities while understanding the dynamics this can bring to relationships. Arlene never imposed herself into the photograph, she was a quiet listener, retaining the important visuals to depict the true story. Arlene captures the ordinary moments that shape the extraordinary bond between mothers and their children. Each photograph is a poignant reflection of the joys, challenges, strengths, weaknesses, reflecting the timeless beauty found within the realm of motherhood. She invites us to explore the universal experiences of nurturing, sacrifice, and unbreakable familial ties, creating a timeless homage to the profound and enduring role of mothers in our lives. Mommie is not just a book of photographs, but a heartfelt tribute to the essence of motherhood in all its raw and unfiltered glory. Arlene’s portrayal of her family through photography reflects the bond and shared experiences they cherished. Karen, Arlene’s sister, was a source of inspiration and support, playing an integral role in Arlene's artistic journey, influencing her perspective and contributing to the rich volumes of visual stories depicted in her photographs. Often, they navigated the busy streets of the city, finding beauty in the everyday moments that unfolded before them. Their sisterly connection and the colorful tapestry of New York City were immortalized through Arlene’s photography, leaving behind a legacy of artistry and sisterhood that continues to resonate with audiences worldwide. EXCERPT FROM “MOMMIE” (Pages 18-22) To my Dear Mother Lillian Gottfried Grandmother Minnie Zimmerman Sister Karen Gottfried I never really had a project and then went out to photograph for it, except for the gospel. But I started photographing my family in my early days of photography and I would photograph at different times or different occasions, just the way I still pretty much do it. Casual. It wasn't anything planned out. The photographs in this book go back to 1972, when I took a picture of my grandmother. I think that's about when it began. The picture of my father was taken in ‘72, I would say, and it’s the only color picture I have of him. My family was something I photographed, but not with the consciousness that this was a project of mine. I would see things and maybe I would take a photograph. We would meet at my sister Karen’s house for dinner and I’d take a picture over there, if something special were happening. Then as my mother and grandmother started to get older, I began photographing them more, as it was a way of documenting their aging and getting near the finality of life. One time I remember my mother got into a bad mood. She had diabetes pretty severely. It affected her vision and her stamina. And she used to get a little angry. But a lot of the time I would have the camera or bring it over to my sister’s house. If we were eating there or if we were going to visit my grandmother, I would take it. And when they were getting older and I thought things would change drastically, I left a camera at my mother’s house. I would have it there if I didn't feel like carrying it and I could still take some pictures of her. Photographing my mother as she was dying was very hard. I guess that was the only way I could cope with it and kind of hold on to her as much as I could at that time. That was extremely difficult. She became very ill and she got sent through different hospitals and nursing homes and back to the hospital again. Back and forth and back and forth. I felt so bad for her, being shuttled around like that and being ill. I don’t know how to describe it myself but I know it was something so important and so heartfelt and upsetting that I had to capture it. It was very hard to deal with her illness and watching her getting worse. It still hurts to look at the photos. It means a lot to me when people pay attention to the work. They have to be brave enough to feel the feelings. I think it’s a story that most everyone experiences: Losing your parents. The nice touch is my sister giving birth at the end. You think the story is over, but it continues. My grandmother was a traveler. (laughs) She got around until she couldn't anymore. Even when she couldn't get around anymore, in her retirement home, she’d say “Let's go outside.” It could be bitterly cold and she would go out, and if we did’'t have a pass, we would sneak around to the hospital side where there was a stairway. She was over 100 at this point and she would walk. I would help her go down the steps. Then I’d take the wheelchair down and we’d go out. She wanted to get out of that atmosphere and she wanted to get into the air. She was always like that when she came to visit us. We’d go to the Botanical Gardens or something. She wasn't about sitting inside for very long. She liked to go out and move around and my mother said to me once, “You're like Bubbie.” Because I can’t stand staying locked up inside. (laughs) When my grandmother died, it was a sad day, even though she was 104 years old. It was a quiet day in the kitchen when we all met to wait for the car to go to the funeral. That’s what I remember very intensely. She was a great part of our lives. Her mind was sharp on her last day so it wasn’t a sad situation like that. My mother actually said about her, that she lived till she died, which was true. My grandmother had gone with members of the senior home where she lived to the planetarium the day before she passed on. So I thought she went to that sky, in the universe. She loved life. She wanted to be part of things. She was very aware of what was going on. She read her forward every day, you know, the Jewish newspaper. She wasn’t someone to just fade into the woodwork. Mommie has been germinating in me for a while. It changed when my sister gave birth to my nephew, as that kind of extended the story. I always think things are happening at the right time when they happen. I couldn’t have done it sooner, this was the right time. I showed the last maquette to my sister. She was very quiet. She looked at every picture and then she said that she can’t get it out of her head. That’s all she said about it. I know it was intense for her to look at it. I am sure my mother would have had some things to say about showing her so ill. I am not really sure what they would say about it. Generally speaking, my mother was proud of the work I did. She would ask me questions and keep reminding me about things I was supposed to do. My mom was the agent I never had. Not forceful though. She was very supportive in her way and I miss that. I feel their energies, not just for the book, but I feel them every once in a while, their presence. I think they gave me a lot of creativity in a lot of different ways. When I think back, my grandmother on my father’s side was a singer. Not a professional singer, but they would say she would always sing and be very warm hearted at gatherings. (laughs) I think, “Oh, look at that, she loved to sing. Just like me.” My mother called me “the singing photographer.” There was always humor with my family, a lot of humor from a lot of different people. When I think of family I think of humor and I think of my grandmother sewing and cooking and her creativity. My mother was an intellectual in a way. She went to college at a time when women didn't go to college. I think all of this was funneled into me. It is my inheritance. “Mommie” book, by Arlene Gottfried published by powerHouse Books. “I have been photographing the three generations of women in my family - my grandmother, mother and sister - consistently since I began more than 40 years ago. This documentation of my family grew stronger as I got older and saw time passing, my mother's diabetes worsening, and my grandmother approaching 104 years of age. It was time to concentrate on them the only way I knew how, which was with a camera.” © Arlene Gottfried “Karen Eating Crayfish” © Arlene Gottfried “The only color photograph ever taken of my father, in my early days of doing photography. He passed away at 66 years of age.” © Arlene Gottfried “My sister Karen at the Brooklyn Botanical Gardens.” © Arlene Gottfried © Arlene Gottfried “Mommie and Bubbie at East 14th street. As always saying goodbye, then kissing on the lips.” © Arlene Gottfried © Arlene Gottfried “Mommie Laughing on Balcony” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “My grandmother taught herself to read English, worked as a hand worker in a factory from a very early age, protested for workers' rights, and made all her beautiful, unique fashions herself. She always knitted sweaters for ger grandchildren.” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “After a dinner at my house, getting ready to walk to the bus stop in the dark.” © Arlene Gottfried “One day Mommie was on the phone, when she put down the phone for a second to yell at me, "Stop taking so many pictures! Man Ray only took a few!” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “Mommie Pushing Bubbie” © Arlene Gottfried “On July 1, 2000, my grandmother, Minnie Zimmerman, passed from this world. She was 104 years of age, and in full possession of her mind, intelligence, and wisdom.” © Arlene Gottfried “My mother was my friend and the rock I leaned upon. Even as a grown woman, I asked her opinion about everything, turned to her for laughter, and confided in her.” © Arlene Gottfried © Arlene Gottfried “My sister decided this was not to be the ending and became a mother, having a child later in life.” © Arlene Gottfried © Arlene Gottfried Arlene Gottfried’s poignant exploration of motherhood in Mommie is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. Through her photography, she immortalizes the ordinary moments that shape extraordinary relationships, capturing the essence of maternal love with authenticity and empathy. Arlene not only recorded but captured her family’s experiences, from the joyful moments to the heartbreaking ones, reflecting the richness of human connection and the complexities of life as we age. Her ability to capture the raw emotions and intimate moments of her loved ones, even in the face of illness and loss, speaks to the power of photography as a means of both coping with while cherishing life’s most profound moments. As Arlene reflects on her family’s legacy of creativity, humor, and resilience, she acknowledges the profound influence they have had on her own artistic journey. Through her photographs, she not only pays tribute to her family but also carries forward their legacy, infusing her work with their spirit and energy. In Mommie , Arlene invites us to celebrate the timeless beauty of motherhood and the enduring bonds of family, reminding us of the importance of cherishing every moment and honoring the legacies that shape who we are. Arlene’s family extended beyond the women, they were loved and guided by their father and shared a very close relationship with their brother comedian Gilbert Gottfried, who passed away not long after Arlene. Mommie was dedicated to the women of the family, but the men also were cherished and deeply loved. It was a genuine family bond they all shared and carried with them until their death. Karen, the living survivor of their immediate family, along with Gilbert’s wife, Dara have their own children to pass these values down to, sharing the significance of commitment to family. As single mothers Karen and Dara have a wealth of memories to rely on for wisdom. Arlene, Karen, and Gilbert were truly gifted the understanding of family values lovingly passed down by the good hearts and souls of their mother and grandmother. The sisterhood of motherhood is the resilient common thread that unifies and strengthens the bond for all mothers everywhere, each and every day. Arlene's body of work reflects a deep engagement with New York City’s diverse cultures and communities. From her documentation of Puerto Rican culture in Bacalaitos and Fireworks to her exploration of schizophrenia in Midnight and her portrayal of gospel choirs in The Eternal Light , her photographs offer intimate glimpses into the lives of her subjects. Her ability to capture the essence of her subjects has earned her international recognition, with exhibitions in various countries and her photographs being included in prestigious collections such as The Brooklyn Museum of Art and The Museum of Fine Arts in Houston. Additionally, her photojournalistic work has graced the pages of numerous publications, showcasing her talent for storytelling through images. Living in New York City and its boroughs, Arlene’s surroundings undoubtedly provided endless inspiration for her work, but her real ability to document life with genuine authenticity comes from her deep roots in her family. Her passion for photography is evident in her dedication to family and diligence to visual storytelling in its truest form, capturing the vibrancy of the city and all its inhabitants. Arlene’s surviving family, Karen Gottfried, and her sister-in-law Dara Gottfried are doing their best to care for Arlene’s treasures. Karen cares for her family photos, and memorabilia and helps to keep her sister’s photography alive through social media. Dara has begun safely organizing, documenting and archiving Arlene’s extensive library of negatives, Cibachromes, Kodachromes, as well as countless photo paper boxes filled with beautiful analog prints. This is a tremendous amount of work, and a daunting task for any family. One reality we as photographers we all have to face, that day of reckoning. It is important to think about and prepare for. Richard Wexler, original founder of The Arlene Gottfried Legacy Project , an offshoot of the Vintage Annals Archive , began around 2013-14 with a simple aim: to showcase and promote Arlene’s remarkable body of work on Instagram. Over time, it evolved into a multifaceted endeavor, including a dedicated webpage, presentations, and now a three-part podcast series, spearheaded by a collaboration between the project founder and Karen Gottfried. Through interviews with key figures and consistent social media updates, the project aims to honor Arlene’s legacy and preserve her contributions to photography. For further engagement, audiences can follow the project on Instagram and listen to the podcast series. A story like this takes many contributions, considerable effort from numerous people, all working together to share the memories and visual stories Arlene has gifted to us. We feel honored to share with our readers her exceptional photographic journey as she witnessed and defined the world around her. The Pictorial List thanks Karen and Dara Gottfried, and their families, for allowing us to experience Arlene in such a real and touching way. Spending time in her archives, visiting the family, looking through her photographs, holding her cameras, made me feel her presence at times. It was a gift for me to experience such a brilliant photographer with such a personal hands-on exposure to their work. We thank Daniel Power, from Powerhouse Books , for sharing the intimacy of Arlene's family through her photography, allowing us to share their brilliant publication of the Mommie book, by Arlene Gottfried. If there is one thing that is evident with absolutely everyone I have spoken with, the genuine kind and generous person Arlene was, and how she touched people and created a lifelong connection and bond, that translates beyond her death, carrying her authentic inciteful photography into the future. Finally, we thank Arlene for sharing the intimacy of the relationships between the women in her family through her book, Mommie . What an inspirational read on Mother’s Day. We are reminded of the strength and value of the commitment to family, for richer, for poorer, in sickness and in health, as long as we all shall live. The vows transcend marriage and are the very family values we raise our families with. Happy Mother’s Day to all mother’s, each and every day of the year! In loving Memory of the Gottfried family - Minnie Zimmerman | September 15, 1896 - July 1, 2000 Max Gottfried | May 18, 1909 - September 11, 1975 Lillian Gottfried | April 13, 1919 - January 7, 2002 Arlene Gottfried | August 26, 1950 - August 8, 2017 Gilbert Jeremy Gottfried | February 28, 1955 - April 12, 2022 view Arlene Gottfried's website IMPORTANT LINKS Simon and Schuster site to purchase "Mommie" book >>> powerHouse Books >> Richard Wexler has compiled a lot of articles and resources that can be found here >>> Arlene Gottfried Legacy Project >>> Instagram >> Arlene Gottfried Podcast Series >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

I am an Iranian artist and photographer based in Guilan, on the northern coast of Iran. Inspired by conceptual photography, I create minimalist landscape photographs that are strongly rooted in themes, ideas and symbolism. I have a background in painting and while photography is my preferred medium today, I often combines aspects of both into my working process, often inspired by my own thoughts and dreams, and chance and coincidence. To me, minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world. MOSTAFA NODEH I am an Iranian artist and photographer based in Guilan, on the northern coast of Iran. Inspired by conceptual photography, I create minimalist landscape photographs that are strongly rooted in themes, ideas and symbolism. I have a background in painting and while photography is my preferred medium today, I often combines aspects of both into my working process, often inspired by my own thoughts and dreams, and chance and coincidence. To me, minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world. LOCATION Guilan IRAN CAMERA/S Canon 7D @NODEHPHOTO FEATURES // Notes On A Landscape

SOCIAL STUDIES Argentinian photographer Victoria Gonzalez Garcia finds inspiration in her environment and explores social themes. SOCIAL STUDIES July 31, 2020 INTERVIEW PHOTOGRAPHY Victoria González Garcia INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Victoria González García is an Argentinian photographer currently based in Madrid. Born in Buenos Aires, she studied Social Communication at the University of Buenos Aires, then went on a student exchange scholarship to the Carlos III University of Madrid, Spain. She specialized in Photography, Film and Political and Social Video at the Complutense University of Madrid, Spain and is currently studying through distance learning for a diploma in Social Photography (The Camera as a Tool for Social Research) at the University of Buenos Aires, Argentina. We interviewed her for The Pictorial List. “Photography was always a part of my life, the Kodak reels and cameras. I remember that when I was little I loved posing for photos, my parents recorded my childhood and that of my sisters, our life, the acts at school, when we lost our first teeth, Christmas, holidays and every episode that marked something important for us or for our family. At 21 years old, I started to get interested in the photographic world and decided to start studying, so my parents gave me my first analog reflex camera as a support and incentive.” IN CONVERSATION WITH VICTORIA GONZALEZ GARCIA THE PICTORIAL LIST: Victoria, where do you find your inspiration? VICTORIA GONZALEZ GARCIA: I find it in life, in everyday life, in what surrounds me. But I am also restless and curious, it motivates me to learn new things all the time, whether it is discovering photographers, getting to know their work and careers, watching documentaries about photographic projects, knowing the history behind them, going to exhibitions, festivals, meeting people of that world and exchanging concerns. Trying new things, getting out of my comfort zone, shooting and giving myself up to the mere process of creation. TPL: Do you have a favourite genre of photography? VGG: I am very interested in the social, the documentary, and of course this is due to my social training. I want my camera to be a tool that helps me to visualize stories that can raise awareness or at least leave people thinking about some issues, be they social, political, cultural or ideological. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VGG: Saying I have a favorite artist or photographer would be a lie. I like many. For example, William Klein, Vivian Maier, Annie Leibovitz, Henri Cartier Bresson, Diane Arbus, Sara Facio, Paz Errazuriz, Adriana Lestido, Marcos López, Chema Madoz, Man Ray, etc., the list would be endless! I cannot say that only one has inspired my style, I think all of them have, and even some that I have not named above. Both photography, painting and cinema have set a precedent for me and have forged my style. TPL: Do you have a favourite place to photograph? VGG: No, I have no favorite places, all places can be great. I think more what defines it is not the place itself, but the connection with what you are photographing and what is generated around that relationship. Art is not a mirror to reflect the world, but a hammer with which to hit it. ~ Bertolt Brecht TPL: What characteristics do you think you need to become a 'good' photographer? Any tips or advice for someone just starting out? VGG: I think you can have the best camera in the world, but if you don't have a good eye, you don't have anything. I feel that the best advice I can give to those who are just beginning in the art world of painting with light, is to practice, to shoot a lot, to investigate, to study, that if something does not turn out as you would like, do not be discouraged, keep going, practicing. At least that's what I keep doing. A phrase that I say a lot when asked about this is "practice makes perfect". TPL: What camera(s) do you use? Do you have a preferred lens/focal length? VGG: I have two favorite cameras, my digital camera and my analog camera that has a 50mm lens which I usually use in my digital camera, exploiting all the artistic possibilities that it can offer me. TPL: Have you ever been involved in the arts before photography? VGG: No, never, the artistic world was always there and I was on the opposite side of the road, contemplating those things, from different fields that fascinated me. TPL: Are there any special projects you are currently working on? VGG: Yes, I am presenting 'Intervenidas', my first photographic and illustrated project carried out collectively among women that was born during the quarantine. It is a small series of my photos, which I sent to six women illustrators of different nationalities, so that without parameters or prior artistic criteria, they would “intervene” in them, trying to cross styles and two disciplines, photography and digital illustration. TPL: “When I'm not out photographing, I... VGG: I am thinking of the next photo I want to take.” Victoria González García has come a long way from her roots in Buenos Aires, Argentina in her pursuit of knowledge and expertise in Photography, Film and Political and Social Video. Her tireless efforts have taken her on a journey, from Argentina to Spain and back again, as she continues to expand her skills and learn new ways to use the camera as a tool for social research. By conquering such difficult terrain, Victoria has become an example of determination and success. We are proud to have had the chance to interview her and invite you to follow in her footsteps on her remarkable journey. VIEW VICTORIA'S PROFILE Read PANDEMIC POETRY by Victoria >>> Victoria'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.

I make my home in the San Francisco Bay Area, where I've been fortunate to cultivate a creative career, I truly enjoy. As a senior graphic designer and multimedia producer, photography has always been by my side. In 2017, my sideline hobby took a different direction and evolved into my passion after studying the works of Alex Webb and Nikos Economopoulos. Their powerful play with light and shadow, geometry, and layers interacting within one frame, alongside dynamic candid gestures, were an epiphany and remain profound examples my photography practice strives towards. While I continue to work full-time as a creative marketing and communications professional, whenever I'm away from the office and studio, I'm intently exploring avenues and streets, focusing on capturing the unscripted experiences of people navigating their lives in vibrant settings, both in my hometown and abroad. EDWIN CARUNGAY I make my home in the San Francisco Bay Area, where I've been fortunate to cultivate a creative career, I truly enjoy. As a senior graphic designer and multimedia producer, photography has always been by my side. In 2017, my sideline hobby took a different direction and evolved into my passion after studying the works of Alex Webb and Nikos Economopoulos. Their powerful play with light and shadow, geometry, and layers interacting within one frame, alongside dynamic candid gestures, were an epiphany and remain profound examples my photography practice strives towards. While I continue to work full-time as a creative marketing and communications professional, whenever I'm away from the office and studio, I'm intently exploring avenues and streets, focusing on capturing the unscripted experiences of people navigating their lives in vibrant settings, both in my hometown and abroad. LOCATION San Francisco UNITED STATES CAMERA/S Leica M11 WEBSITE https://reygun.com/home @GAMMAREYGUN FEATURES // Ephemeral Rhythms

My journey as a photographer began with a simple fascination—a single photo capturing a pop of color amidst the city's grayness. This serendipitous moment ignited a passion within me, driving me to explore every corner of São Paulo in search of similar scenes, each one a thread woven into the fabric of my artistic narrative. In every image, I endeavor to evoke a sense of wonder and curiosity, inviting viewers to immerse themselves in São Paulo's vibrant tapestry and discover the beauty that lies within its urban chaos. My photography is not just a reflection of São Paulo's colors, but a celebration of its spirit—a testament to the resilience, diversity, and boundless creativity that define this extraordinary city. RAFA ROJAS My journey as a photographer began with a simple fascination—a single photo capturing a pop of color amidst the city's grayness. This serendipitous moment ignited a passion within me, driving me to explore every corner of São Paulo in search of similar scenes, each one a thread woven into the fabric of my artistic narrative. In every image, I endeavor to evoke a sense of wonder and curiosity, inviting viewers to immerse themselves in São Paulo's vibrant tapestry and discover the beauty that lies within its urban chaos. My photography is not just a reflection of São Paulo's colors, but a celebration of its spirit—a testament to the resilience, diversity, and boundless creativity that define this extraordinary city. LOCATION São Paulo BRAZIL CAMERA/S Nikon D3400/D7500, Redmi Note 8Pro Xiaomi WEBSITE https://rafarojas.myportfolio.com/ @_RAFAROJAS FEATURES // COLORS OF GREY CITY