INTERVIEW INTERVIEW June 19, 2020 THE STORYTELLER Photography by David Gilbert Wright Interview by Karin Svadlenak Gomez Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When David Gilbert Wright first set out as a photographer, he soon realised that although a photograph should ‘speak’ for itself, a story always brought the photograph to life. Now, forty years later, David is writing about his photographs and about photography as one of the most powerful ways of communicating. If I could tell the story in words, I wouldn’t need to lug a camera. - Lewis Hine “How true that is but equally imagining that a picture is worth a thousand words is also naïve. Photographs in themselves do not have meanings, which is why I like to combine photographs with text. It enables me to tell the story I want to tell. Finding a subject and then spending time exploring it photographically and getting to know the people and their stories yields much more interesting results than simply taking pictures of anything and everything.” IN CONVERSATION WITH DAVID GILBERT WRIGHT THE PICTORIAL LIST: David, when did you start getting interested in photography? DAVID GILBERT WRIGHT: It was during the Foundation Course in Art and Design. I didn't really do any photography before then. As a little boy, my dad let me hold the Box Brownie and press the shutter once or twice but that was about it. Suddenly being shown a darkroom and processing films was magic! I was hooked. And that feeling of seeing a print emerge in the tray is a wonderful experience. TPL: Where do you find your inspiration? DGW: Life. Some say that by photographing an event, you are not really experiencing it and that is true to some extent. Equally, to photograph it is to participate in the event at the time as an important recorder of what is happening but also to experience the memory of it over and over again whenever you look at the photographs. That is why so many people take pictures – so they can remember and relive the experience. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DGW: No one exists in a vacuum. The same is true of photographers. We will always be a product of what we have seen. I find it interesting to reflect on who may have provided inspiration to me. Cartier-Bresson for his theory of the “Decisive Moment”. Bill Brandt for his ability to represent the dignity of ordinary people. Homer Sykes for showing me how to notice what is in plain sight and of course, Ansel Adams for his whole approach to exposure, processing and printing. TPL: Has your style of photographing changed since you first started? DGW: Documentary photography is all about telling stories. Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When I first set out as a photographer, I realised that although a photograph should ‘speak’ for itself, a story always brought it to life. Now, here I am forty years later, writing about my photographs and about photography as one of the most powerful ways of communicating. I adopt a particular approach when producing documentary photographs. I do not set out to simply record something that happens in front of me. My aim is to let the viewer see the world ‘through my eyes’. I want them to see what I saw and to feel what I felt. I want my photographs to move people. Obviously, not every picture will do that, which is why I have adopted a storytelling approach. I do this by putting photographs together in a certain order so that they affect each other and produce meaning in the same way as the great Russian filmmaker Eisenstein. The impact of the whole story is greater than its individual components. The subjects in my photographs normally know I am taking their pictures. I spend time beforehand explaining the project and what I am trying to do. It is a particular anthropological approach, one of gaining confidence and eventually becoming part of the group for the period of producing the pictures. Some describe it as a ‘fly on the wall approach’. I like to think of it as becoming accepted and trusted to do the subject justice. Reassurance and knowledge of my work is key. I show a sample of my work to people first whenever that is possible. Even on projects like the Climate-Change Activists, I arrive early, talk to the protestors and show them my website. That way, they can be confident that I am not going to sensationalize them or rip them off. Trying to produce an emotional response in viewers does not mean that the pictures are dishonest. It is simply the reality that I witnessed and experienced at the time of taking the photograph. That is why my photographs and stories have the power to move people. It is an intentional act. TPL: Where is your most favourite place to photograph? DGW: The British Isle is a wonderful place to take pictures for many reasons. There is so much happening and such diversity that as a documentary photographer, it is like being locked in a sweet shop! The light is amazing with those bright summer days and stormy winters. I am currently working on a particular way of making portraits using dramatic backgrounds. I think some may call it Landscape Portraiture. A number of my new photographs use the approach. Documentary photography is all about telling stories. Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. TPL: Do you think equipment is important in achieving your photographic vision? What would you say to someone just starting out? DGW: The Camera is a means to an end. Cameras and equipment are simply the tools I use to express myself. I began my career using a Pentax KX. It is a very basic camera and one of the things that I learned was that you need to be able to change speeds and apertures quickly in documentary situations. So, the simpler the controls the better. Knobs and rings are things you operate manually by touch. You don’t need to look at them. Modern cameras have so many functions with layer upon layer of multi-screens but it takes a real expert to be able to find, use and override functions rapidly. I am not a Luddite, simply someone who wants to retain the craft aspect and be able to concentrate on the events as they unfold in front of me. Another important part of being a documentary photographer is getting right up close to and in the action. To become part of it rather than a spectator looking on. Therefore, I use a wide-angle lens and a telephoto for portraits so I am not right in their face. TPL: What characteristics do you think you need to become a good documentary photographer? Any tips or advice? DGW: My advice to those just starting out as documentary photographers is to work in projects. Try to find out as much about the subject or event you can in advance and plan what kinds of pictures you want to take. Don’t be afraid of getting to know the people you are documenting. It will pay dividends. Explore the emerging themes and look laterally. Not everything is happening inside the viewfinder, so stay alert. TPL: Have you ever been involved in the artistic world before photography? DGW: I was in my late teens when I went to Art college. Before that, I was very keen on painting and drawing. My art teacher once handed me a camera ready loaded with black and white film and sent me and some friends off to see what we could do with it. So, really most of my life has been about photography. TPL: Are there any special projects you are currently working on? DGW: I am working on two projects. The first, Modern Tribes of England is a long-term documentary project looking at groups such as Morris, Pagans and Climate-Change Activists. I spend extended periods with the groups getting to know them and what they do. The second project is exploring the triumph of the human spirit over adversity. The participants are people who have experienced a serious trauma and come through it, stronger and more resilient. This project involves the survivors telling their stories and then having a portrait made. It will result in a book and an exhibition once I find a publisher who would like to take on the project. I have also been working on several ‘Lockdown’ projects. TPL: If you were not photographing what would you be doing? DGW: I would be planning, pre-visualizing and working on the next photography project. I do other things. I enjoy walking with my family and the dog. I play the saxophone and we have recently taken up cycling in London using ‘Boris Bikes’ which is great fun as you can cover more territory. David Gilbert Wright has developed a unique craft of photographing, which combines his own way of seeing the world with his ability to tell stories. Throughout his forty year career, David has used his photography as a means of communication, capturing moments and turning them into stories. His work is a testament to the power of photography to evoke emotion and create connections between people. To see more of David's work and be inspired by his vision, use the links provided below. VIEW DAVID'S PORTFOLIO read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.

INTERVIEW INTERVIEW March 5, 2021 STREET POETRY Photography by Damien Goret Interview by Melanie Meggs As a journalist and passionate photographer, Damien Goret has an eye for the seemingly mundane moments that fill our days, from the poetry of a solitary walker to the graphic geometry of light on a sunny day. With his ability to capture deep blacks, pure whites, and all the shadows and highlights in between, Damien Goret's photography breathes life into everyday moments, freezing them in time and reminding us of their beauty. From natural landscapes to cityscapes, each one of his photographs is a unique snapshot of our world. “I think I've always had, more or less, a taste for photography. I love photography for a simple reason. It allowed me to bypass one of my great weaknesses, one of my great regrets: I am a bad draughtsman. I photograph as I would have liked to know how to draw. By projecting scenes, imagining lines. It is thanks to my work as a journalist that I learned to formalize my practice of photography, to be interested in the settings of a camera, to understand its logical workings.” IN CONVERSATION WITH DAMIEN GORET THE PICTORIAL LIST: Damien please tell us about yourself. DAMIEN GORET: I was born in Brest, one of the westernmost cities in France, 43 years ago. After living 10 years of my youth in Africa, I came back to live, settle, work and start a family in the Region of Brest. I now live in a small town 20 kilometres from Brest, called Plouarzel. Beyond Plouarzel, there is nothing but the sea, then the United States. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? DG: In terms of photography, I really like this phrase by Ernst Haas: "I am not interested in shooting new things - I am interested to see things new. " I think it sums up very well the photos I want to make today. I am not looking for the spectacular, but in search of what is spectacular about everyday life, and that too often eludes us. TPL: Where do you find your inspiration to photograph? DG: I find my inspiration in the other. The other photographer, the other human, the other draughtsman, the other painter, the other director. TPL: Your street photography has this wonderful graphic feel to it. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? DG: The street photo as I imagine it is a graphic image, yes. I always come back to these stories of shadows, of lights, two elements that alone draw a landscape, a geometry. I'm not very much inclined towards street portraiture. I really want to reveal things that we see every day without seeing them: the shadow of a lamppost on a wall; the shade of the trees on a sunny façade; a person's silhouette, more than the person himself. Because this is the third element necessary for street photography as I imagine it: it is a photo where the human has its place. I like the idea of the gigantism of cities that engulf men. TPL: What is it that you enjoy about street photography. What happens when you walk the streets with your camera? Explain your technique? Have you ever had a negative encounter? DG: What excites me is the spectacle that everyday life offers. Things I didn't see before. Places that I have traveled to thousands of times are open to me, one day, in a new light. Because that day, I'm probably more open to the world. Because, on that day, I probably did not know that I had passed this place at the same time as yesterday, and because the light of day makes me see things that did not exist the day before. I love this feeling, this feeling that nothing belongs to me, that nothing is fixed, that today will not look like tomorrow. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. When I'm photographing, I'm stopping it, this time. I'm freezing life. It becomes, for a moment, eternal. TPL: What is it like photographing on the streets of France? Do you have any favourite spots in France and outside of France to go shoot? DG: I am a fairly sedentary photographer, but I work in a profession that leads me to move around a lot. It's a real chance, to spot places, geometries. I never go out without a camera. I live and work in relatively small cities, where I am obliged to be on the lookout. I mean: I guess doing street photography is maybe easier in Paris, London or New York. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. TPL: What has been the best advice you have ever received in photography? DG: I think one of the mantras of the wonderful photographer Sean Tucker opened my mind to photography, and especially to street photography, which I now practice 90% of my time: "Embrace your shadows". There is nothing more beautiful than the shadows that come to cut out the lights and shape them. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DG: Clearly, Fan Ho shook me up. Harry Gruyaert too. Among the more contemporary photographers, Sean Tucker inspires me by the elegance of his lines, the quality of his shadows, and the relevance of his eye. On Instagram, where I am a lot, there are also several photographers whose work always makes me think of a tennis player forehand, Tom Schippers, for the loneliness that floods his images; Kentaro Watanabe for his black and white and his sense of graphic design; Ingrid Clauwaert for the vastness of her cities engulfing men; Magali Kermaïdic, whose Brest origins I share but not her talent (laughs); and so many others... TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? DG: I am now working with the camera I dreamed of when I started in street photography: a Ricoh GR (the II, in this case). But when I started, I was photographing with an Olympus EM10 Mark II, which I loved. The Ricoh GR II is as I imagined it: a street photo killer. The nose-down of its optics is superlative, maybe even better than the Nikon D7200 that I own in SLR. Its snap mode is truly amazing, once you understand how it works. I just regret it's great weakness in terms of dust, with a sensor that is very sensitive to it. I've had it 3 months, I take great care, and it already has annoying dust specs on the sensor. This Ricoh GR II allows me to make street images that I couldn't have done as easily with my Olympus, let alone with my SLR. TPL: When you go out, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? DG: I don't have any ideas when I go to photograph. Like I said, I always go out with my camera. When I see something that appeals to me, and if I have time, I stay put in a spot for 5 to 10 minutes and I wait: I wait for the event that I projected in this scene. Thus, I also have time to adjust my shooting, always in manual mode, to preserve my highlights, respect my shadows. Manual mode is important to me: I want to know everything about my photo, I want to master all the settings...except what will happen there! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DG: When I “grow up”, I want to photograph like Tom Schippers 😉! I told him that on Instagram. I always look at his photos and regret not knowing or being able to make them! I would like to find the courage to exhibit my photos, but I remain someone quite discreet, who has a hard time feeling legitimate in what he does. There is a lot of shyness, and the impression, often, of being an impostor, of not deserving to see my photos recognized. I still judge them pretty badly, even if I like them. But are they worthy of "staying", of being seen...? I have no pretensions in that regard. To exhibit some of them would nevertheless be something I would like to do. TPL: "When I am not out photographing, I (like to)… DG: Play a lot of board games with my wife and children. I also ride a lot of road bikes. And when I'm not photographing, I like to look at the world as I would like to photograph it." Damien Goret's photography has a way of making us pause and recognize the beauty of everyday moments. His photographs capture the poetry in the mundane, the stunning geometry of light, and the vibrant colors of our world. He has an eye for beauty, and his work shows it. If you want to appreciate the world in a way you've never seen before, view more of Damien's work. VIEW DAMIEN'S PORTFOLIO Damien's instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.

As a fine art photographer, I am inspired by how even the most ordinary scenes tell us something extraordinary about people and their natural environments. I create portraits rich with emotion, conveying moments saturated by our struggles with grief, identity, and change. My images express what my words cannot; with my camera, I explore the ways that the most common experiences connect everyone, even when they relate to the most unique or personal incidents. From the most intimate study of a human subject to the wide lens of a vignette in nature, my work embraces the beauty beneath the seemingly mundane. In the series "Bare Essentials", I create conceptual portraits of utilizing banal commonplace items (toilet paper, facial tissue, paper towel and hand sanitizer) made valuable through the threat of scarcity — manipulating their form to visually convey their meteoric metamorphosis into often elusive objects of desire. As they seemingly drift through the frame suspended in light - their beauty is ephemeral, undermined by the realization of their functionality, effect on daily life and the environment. The images take on a spectral and slightly ironic quality, calling attention to the dependence on single use goods, supply chain and the newly emerging consumer hierarchy exposed during the early days of the pandemic. These are the bare essentials of our private lives. SHIRA GOLD be inspired Gallery // ARTIST'S STATEMENT // As a fine art photographer, I am inspired by how even the most ordinary scenes tell us something extraordinary about people and their natural environments. I create portraits rich with emotion, conveying moments saturated by our struggles with grief, identity, and change. My images express what my words cannot; with my camera, I explore the ways that the most common experiences connect everyone, even when they relate to the most unique or personal incidents. From the most intimate study of a human subject to the wide lens of a vignette in nature, my work embraces the beauty beneath the seemingly mundane. In the series "Bare Essentials", I create conceptual portraits of utilizing banal commonplace items (toilet paper, facial tissue, paper towel and hand sanitizer) made valuable through the threat of scarcity — manipulating their form to visually convey their meteoric metamorphosis into often elusive objects of desire. As they seemingly drift through the frame suspended in light - their beauty is ephemeral, undermined by the realization of their functionality, effect on daily life and the environment. The images take on a spectral and slightly ironic quality, calling attention to the dependence on single use goods, supply chain and the newly emerging consumer hierarchy exposed during the early days of the pandemic. These are the bare essentials of our private lives. LOCATION Vancouver CANADA CAMERA Nikon D800 and Epson Perfection V550 Photo CATEGORY fine art photography WEBSITE https://shiragold.com/ @SHIRAGOLDPHOTOGRAPHY @SHIRAGOLDPHOTOGRAPHY FEATURES // Bare Essentials Good Grief

INTERVIEW INTERVIEW February 27, 2020 THE STREET FILES Photography by John St. Interview by Melanie Meggs Meet John, an incredibly talented photographer from South Australia who fell in love with the art of capturing moments through his lens. John was born in South Shields, a town in the north-east of England. He migrated with his family to Australia and now resides with his wife in Adelaide, the capital city of South Australia. He considers himself fortunate to live in such a wonderful country. John's passion for photography started with his love for good coffee, which he would capture with his mobile phone. This passion quickly grew, and John found himself exploring the beauty of architecture in and around Adelaide before discovering his true passion for street photography. John's work has been exhibited in a solo exhibition and several group shows, and he has been recognized for his talent with multiple photography awards. His dedication to street photography has opened up new doors and opportunities that he never thought possible. Living in such a wonderful country, John considers himself fortunate to be able to capture and share the beauty of Australia through his lens. "I’ve finally figured out what’s wrong with photography. It’s a one-eyed man looking through a little ‘ole. Now, how much reality can there be in that?" – David Hockney IN CONVERSATION WITH JOHN ST. THE PICTORIAL LIST: Hello John, when did you first become interested in photography? JOHN ST.: I’ve always been interested in taking pictures but it was only whenever we went on holiday or for that 'special occasion'. But June 2018 is when the interest became a passion. TPL: Where do you find your inspiration? JS: My inspiration comes from a number of sources. Mainly from the beauty of everyday things, light and shadow, other famous photographers and many not so famous photographers that I follow on Instagram and Facebook. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? JS: Fan Ho, Garry Winogrand, Saul Leiter, Trent Parke, Elliott Erwitt, and Sean Tucker Some because of how I see the world and others because of their immense ability to see it differently. TPL: Has your style of photographing changed since you first started? JS: Yes, I started by taking pictures of coffee with my phone and images of buildings with no human elements in the frame! So I would certainly say that my style has changed and developed since I first started. TPL: Where is your favourite place to shoot? JS: Anywhere and everywhere and at any given time of the day or night. If I have my camera with me then that’s the time to shoot. So pretty much all of the time as I have my camera with me a lot! Photography has taken me down a road that I never knew was there, and for that I’m truly grateful. TPL: What characteristics do you think you need to become a better photographer? What’s your tips ? JS: Passion/Patience/Tenacity/Eye/Creativity/Belief in yourself...but most of all have your camera with you all of the time. All the technical skills will come from taking shots or be learned…YouTube is your friend! TPL: Have you ever been involved in the artistic world before photography? JS: No. If you were to ask me 20 months ago if I was artistic or creative then I would have said No Way Jose! It’s not that I didn’t want to be but more to do with not knowing where to look. Thankfully photography has taken me down a road that I never knew was there and for that I’m truly grateful. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JS: They say the best camera to use is the one you have on you! That might even be the one on your phone. Mark Fearnley is a street photographer from London. He’s taken some amazing images on the streets of Japan. I just watched a recent interview where he said some of his best shots that he’s ever taken were using his phone as that was all he had on him at the time. I had no idea that the shots he was referring to were taken using a phone! I bought a cheapish Nikon D3400 when I decided to take the plunge June 2018 and buy my first ever DSLR camera. I had no idea how to use it so I just twiddled the knobs until I got a half decent image and watched a lot of YouTube for hints and tips. I then bought a 35mm prime lens which was difficult to master at first as I was forced to learn how to frame my shots instead of just zooming in with my 18-55 kit lens. The quality was far better too but that’s because I was forced to get closer to my subjects. No matter the camera the principles are the same. If you can master those principles first before shopping for a more expensive camera then you’re onto a winner. In saying that I did end up buying an Fujifilm XT3 which I just love! Love! Love! But I don’t use it too anywhere near it’s full capabilities! But I do love the feel of it, the manner in which the exposure triangle (SS/ISO/A) are set out etc. The Fuji colour science is also stunning in my honest opinion too. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JS: 1. I was honoured to have been asked to become a member of the Pictorial List 2. I’ve just been accepted to be the South Australian Rep for Fuji X Aus + Admin for their FB page 3. I’m currently one of the Admin’s for the Henri Cartier Bresson FB group 4. I started a small group for Adelaide creatives to come together to initially give street photography a go but this has now grown so that other photographers can share their skills with participating members within the group should they wish to learn. 5. Was just asked to become a member of the Street Avengers Collective 6. Co-founder of Streetlife Podcast TPL: "When I am not out photographing, I (like to)… JS: Drink coffee and write reviews 😉" The passion John has for street photography has enabled him to explore a side of himself he never expected to explore. John is a valuable member of the team at The Pictorial List, and we are delighted to have him in our fold. Follow his incredible journey and connect with John on Instagram. VIEW JOHN'S PORTFOLIO John's instagram >>> Listen to Street Life Podcast >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.

INTERVIEW INTERVIEW March 30, 2022 STORIES IN GARBAGE Photography by Jens F. Kruse Interview by Melanie Meggs Travelling from Germany to Mallorca in 1999, Jens F. Kruse has been creating a unique artistic landscape of the Spanish island ever since. As a Michelin star chef and award-winning photographer, Jens has crafted a career in both culinary and visual arts. With his roots in analogue photography from the eighties, and later delving into digital landscape photography and street photography, Jens has developed a blog dedicated to his photographic journey in Mallorca. But what sets him apart is his photographic series STORIES IN GARBAGE, a creative take on how one interprets and portrays everyday garbage in an unusual and thought-provoking manner. Now, The Pictorial List has the pleasure of interviewing Jens to find out more about his life in Mallorca and his acclaimed photographic series. “The world is never boring, it is ever exciting, strange things can happen around the next corner, there is always something to capture...Everywhere, every time...I forget what I do...but I am fully aware of what is happening Past and Future exist in the here and now. there is nothing quite like this...Life is candid!” IN CONVERSATION WITH JENS F. KRUSE THE PICTORIAL LIST: Jens please tell us about yourself. JENS F. KRUSE: I was born in Germany in the 60s. In 1999 I immigrated with my family to Spain, where I have been living and working until now. My young heart has been beating for art and music and already at the age of 12, I had the dream of becoming a professional musician. But this was a bit naïve and I started an apprenticeship as a cook. After a short time it turned out that I was very talented and made a fast career (1 Michelin star). I still had not given up on my dream and went back to school to get my A-levels (1991)…Then I studied musicology (but that was too dry for me) and finally art/music! In art, my focus was on photography and land art (1992-1998). In all this time I gave many live concerts and released 4 cd albums, did a lot of art and conceptual photography. When we went to Spain (with two kids), I started cooking professionally again (the bills had to be paid). Since 2009 self-employed as a private chef! During this time I started to photograph my views out of the kitchen windows of my clients with a little Sony cyber shot camera (I loved it), so it was a conceptual work... and it turned into snapshots, moods and detail photographs. It turned into stories on social media and on my website. The final result was the publication of a combined cookbook and lifestyle book, together with my wife! Thinking about taking other food photos and also making the layout extraordinary, I borrowed a Nikon D5600 with a 35mm fixed focal length and started to take really focused photos again...I was already doing street photography without knowing it! Due to professional ban in 2020 with Covid-19, I sold my business and have been a professional street photographer since 2021. I give workshops and I am on the road as a storytelling photographer in a company called Corporate Street! TPL: You say that you studied music and art. How did you become interested in photography? JFK: I took photos before, but more as a location photographer on holiday or with the family. During my studies, I learned the analogue approach and development work completely, what you can do with negatives...(almost) everything we can do digitally today is also possible in analogue. These were rather conceptual, abstract and poetic photo works of mine. Furthermore, I have always been interested in the symbiosis between art and music...which is immeasurable. TPL: How have the streets and culture you capture influence your photography? JFK: Life as such, in all its facets, has always interested me. Through my music I have travelled many countries ( Africa, Brazil, Canada, USA, Europe), learning music there and taking photographs...I had no idea about street photography but I was always interested in the stories behind the motifs, but I was always careful not to have people in my pictures...more mood shots, landscape, lifestyle or poetic views . In 2018 in Stockholm (Sweden) this should change...!!! TPL: Talk to us about your series STORIES IN GARBAGE. Where did the inspiration come from to start the project? What do you want the viewer to experience and take away with them? JFK: I can still remember it very well: about 2 years ago I noticed that a magazine had been carelessly left on the street or thrown away several times. One copy was lying on top, with the cover page on the dustbin, the portrait of a man with closed eyes, looking calm and content. That motivated me...there was a story and that was the beginning of paying attention to stories in the rubbish. I like to put things in a different context, when pictures have a friction...raising questions. Normally we would hardly pay attention to many of the objects depicted in my photographs, as they seem insignificant and banal to us. But torn out of their purely functional context, visually condensed in fragmentary view, they acquire such a strong sensual presence that they can develop a great power of association for the viewer. We do not look at the things, the things look at us. TPL: Do you have any favourite artists and photographers? JFK: Not really! In art as well as in photography there are so many fantastic artists I like very much, whose works influence or inspire me. Not only in street photography, but also for example in documentary, reportage, art or fashion photography...I think of Annie Leibovitz, who I admire very much. By the way, the same applies to film and theatre for me! I like to put things in a different context, when pictures have a friction...raising questions. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? JFK: Since I became addicted to street photography, I naturally study all the great masters from the past and present...There are so many fantastic photographers on the road today. Since I am rarely the fisherman and feel more like a hunter on the street (that's where my adrenaline is), I will mention Matt Stuart as an example! I like his views and his photographic realisations and since I read his book "Think like a Street Photographer", I know that he thinks and sees like I do...I could have written that book...but I didn't (hahahaha...). TPL: When you are out photographing - how much of it is instinctual versus planned? JFK: I'm on the street every day! The camera is ALWAYS with me, even when I'm taking out the rubbish...No matter if I go out at home in my small town or travel to big cities...Most of the time I go off unplanned, so I tend to walk and let my interactions with the street take me to where I hope I'll take a successful photograph. When I'm in the streets I try to be open and relaxed and to allow my eyes to take me to unique new experiences. I love to let myself drift, do I go left or right? Where do I feel the energy I need? But when I'm working on a series, for example, I go off quite purposefully with an image in mind and look for the places where I might find the right motifs. With my corporate streets, the storytelling for companies, I have a rough concept according to which I proceed. I know that in the end a book should come out. 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? JFK: When I started street photography seriously, I had of course read from great photographers that most of them use a fixed focal length (use your feet for zoom!). Nevertheless, or maybe because of that, I went out with a Lumix GM5, 12-32mm. That's a bit wide-angle but by the end of the day, I was pretty far away and cropping! It helped me get over my fear in the beginning and it was a great dry run. I then extended it a bit with a 7-14mm Vario lens on the camera. That was pretty fun and I got a lot of pleasure out of it. That was a lot of fun and I get great crops with it, but since I got the Leica Summilux 1:1.4/25mm lens on my camera I know the photographers are right! It's a whole different thing to shoot with a fixed focal length. You approach your subjects very differently, the compositions become different, and you don't crop! I recently started using the fujifilm X100v with a 23mm fixed focal length, sometimes with a wcl converter...that's the equivalent of a 28mm fixed focal length. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JFK: I am very satisfied with my photographic career in street photography so far. In addition to individual and group exhibitions, some of my pictures have been awarded prizes internationally or have been published in books. However, I would like to step on the gas a bit more, there is still room to get even more attention. I love to pass on my knowledge! I am a very good teacher, I know that from my experience in music and cooking! Maybe my pictures will be so interesting that photographers will want to know how I take them! Technique, focal lengths, depth of field, etc.. You can learn all these theoretical things and with experience, you learn how to deal with them...that can be learned. What you can't learn in books or on YouTube is the seeing, the perception, the mindfulness, the courage or the humility with which you should be on the road...someone has to show you that and explain...why that is so important. I like to pass that on in workshops. Of course, I would like to have more exhibitions with picture sales, that's for sure. Sales are starting but it could be more. With my corporate street thing, I would like to have more stability in the orders. But that will all come, I'm sure. All this is to say that I can make a living from the photography I want to do. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JFK: Every month I travel to a big European city and spend a week there to photograph on the street, to improve myself, to consolidate my photographic handwriting, you never stop learning. I also work on different series, which means I go out specifically to photograph a theme. It's one thing to select pictures from your archive that have a common theme, and then put them together in a series, or if you're working specifically towards a new theme. A very new collaboration with a pianist: we did an online session where she improvised on the grand piano to a picture of mine (which she had chosen)...it was an incredible experience. My picture started to move, and the music gave me the feeling of being in the middle of the picture. Then, we turned it around: she sent me a music recording and I went off and made a picture to go with it. An approach that is very unusual for me, very exciting ... out of my comfort zone. TPL: When I am not out photographing, I (like to)... JFK: Seeing films, spending time with my wife and my family...and I still love cooking! Jens visually condenses ordinary scenes and objects into a fragmented view changing the context and narrating a new story. We thank Jens for the opportunity to share his project and what is behind his story. Connect with Jens to stay up to date with his photography projects. VIEW JEN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.

INTERVIEW INTERVIEW April 29, 2020 BEAUTIFUL COINCIDENCES Photography by Adrian Whear Interview by Bill Lacey Adrian Whear is an autodidact from Melbourne who is renowned for his captivating street photography. He had a burning curiosity and passion for photography, but it wasn't until his travels to Ethiopia and Morocco that Adrian developed a deep understanding of the medium and its potential. His ever-evolving style has earned him the admiration of critics around the world. But there is another side to this story. In 2016, Adrian's life took a dramatic turn when he was involved in a serious accident while commuting home from work. Fortunately, three years after the accident, Adrian still found it within himself to seek out adventure and inspiration. He began a journey to Hoi An, Vietnam, where he met Etienne Bosset, a travel photographer who taught Adrian valuable lessons about travel and documentary photography. With newfound insight and understanding, Adrian returned to his beloved hometown of Melbourne, determined to capture life through his lens. Through his intimate exploration of the streets and alleyways, Adrian has crafted a unique vision that transcends traditional boundaries. In this article, we will explore Adrian's journey - from his accident to his photographic endeavors in Melbourne - and how this unlikely autodidact has become an inspiration to photographers around the world. “My journey from happy snapper to more serious photography probably started in 2015 when I travelled through Ethiopia and Morocco. I took a snap in Casablanca of a woman walking past a mural that looked exactly like her, at that at the time I thought it was just an incredible coincidence that I captured. I have since learnt that these 'coincidences' are all around us, we just have to be attuned to our surroundings.” IN CONVERSATION WITH ADRIAN WHEAR THE PICTORIAL LIST: Adrian, please tell us something about yourself and how it influenced you finding your way into street photography? ADRIAN WHEAR: Life often takes unexpected turns. For me, that was 2016, when I went through every cyclists worst nightmare. On my commute home from work I was hit by a car. I suffered some quite severe facial and dental injuries. It took three years, three surgeries and a team of dental professionals (oral and maxillofacial surgeons, endodontists, prosthodontists and my trusted dentist) to repair my mouth. It was after my second surgery in 2017, that I decided I just needed a break from it all, so I decided that 10 days in Hoi An would be good for my mental and physical well being. In Hoi An, I joined a local travel photographer, Etienne Bosset on one of his photo walks. A lot of what Etienne said about travel and documentary photography resonated with me. Upon returning to Melbourne I started to make the effort to go out and walk the streets and alleys of my hometown Melbourne and its inner suburbs, and in the process I started to discover my home cities true soul. From there I just photographed whatever captured my attention, slowly forming an understanding, vision and style for my photography. Where do you find your inspiration? From the world around me, documentary photography has taught me to be much more attuned to my surroundings. I want to capture and show this world that I see, that is right there in front of people yet it is in their blind spot. Also I enjoy following the work of some amazingly talented photographers on Instagram. TPL: Has your style of photographing changed since you first started? AW: Most definitely, I would say my street photography has matured more towards minimalism and artistic street photography whilst I have a growing interest for documentary photography. TPL: Who are your favourite artists/photographers and the reason for their significance? AW: I am not a street photographer that has followed the works of the renown artists of the genre, nor have I completed any photography qualification. I am a mostly a self-taught amateur photographer. TPL: Where is your favourite place to photograph? AW: Well Melbourne is where I live and I so love its many small grungy alleys, they have so much character. When travelling, anywhere in Asia for its mix of culture, people and food what more could you want! In 2019, I spent an incredible three weeks in Bangladesh but that story is for another time. From the world around me, photography has taught me to be much more attuned to my surroundings. I want to capture and show this world that I see, that is right there in front of people yet it is in their blind spot. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AW: So my photography being of the street and documentary genre. Of course the equipment is important, a SLR camera, and knowing how to use it in full manual mode, gives you full control to achieve your creative vision. But it is the creative vision that is what makes you a photographer not the equipment. I'll use a cycling analogy here, Chris Froome is a four times Tour de France winner. Now put me on Froome's bike and Froome on a cheap department store bike. Who would win this race? Obviously Froome, as the best cycling equipment in the world would not give me the talent of Chris Froome. You must work hard at your craft, trying to develop your skill and knowledge each and every time you go out to shoot. So if someone were starting, I would say to to concentrate on your observation skills (sort of like active listening but from a visual sense) and to let go of technical perfection, story is more important. TPL: What important skills do you think you need to become a good street photographer? What’s your tips or advice for someone in your genre? AW: For me, the most important skills of the street photographer would be: Observation - already discussed Interpretation -Take the scene and find the story then compose to tell your story. Try to predict how people will interact within your scene (do they create long shadows, can you use the shadows to create a silhouette?). Visualisation - Imagine what you want the final image to look like. Will it be black and white, high key, low key etc. Then photograph with that image in mind. Patience - I often head out so excited to shoot and spend the first half an hour to an hour snapping pics just for the sake of snapping pics. Slow down, be patient, take your time and concentrate of being an observer. Once you have your scene then wait and wait and wait...for the right subject to complete your story to enter the scene (maybe someone in a hat or with an umbrella). You might need to revisit a location on a number of occasions to capture that shot. My tip for a street photographer get a good pair of walking shoes. You've just gotta walk and walk and walk. Get out and about to see the light at different times of the day, and to find locations that you might want to revisit. Also remember to enjoy the walk. You will not always capture interesting photos but you can always have a great walk! TPL: Have you ever been involved in the artistic world before photography? AW: Nope my background is in Science. Before photography I would have argued that I did not have one creative bone in my body. As a kid I even failed in drawing stick figures! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AW: Well actually yes, I recently collaborated with a Singaporean photographer on an urban dance project. He travels to different cities to photograph dancers in urban scenes. He asked me to collaborate on his Melbourne shoots. I always have shot candid so it was interesting to observe him structure and build a scene. We photographed a range of dance styles including ballet, jazz, contemporary, break dance and even krumping (which I had not heard of until this project). TPL: "If I wasn't photographing what would I be doing?... AW: Easy one, cycling and watching my beloved Western Bulldogs." Adrian's photography gives us an insight into his unique understanding, vision and style of the world around him. As Adrian continues to share his perspective with us through his photographs, we can all be inspired to create our own visions. View the links below to see more of Adrian's photography and gain inspiration for your own creativity. VIEW ADRIAN'S PORTFOLIO Read THE INVISIBLE WORKERS Read PRAYING FOR PEACE Instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.

In my street photography, I like to tell a story through a scene capturing a moment in time. JUNI PERNIA be inspired Gallery // ARTIST STATEMENT // In my street photography, I like to tell a story through a scene capturing a moment in time. LOCATION PHILIPPINES CAMERA FujiFilm XT-100 CATEGORY street @JUNIPERNIA

I am an ex-journalist turned full-time photographer. What started as a hobby soon led me to learn and master the craft of photography, whilst I was working covering a few major Art, Cultural and Heritage events across Delhi and India. I exhibited a knack for capturing portraits and live performances. I don’t just want to point my camera and click photographs. I click according the way the subject make me feel or I click on the connection of the emotion between myself and the subjects. My main goal as a photographer is to create the kinds of images which combine a strong sense of story and expression of people. RAJ LAXMI SINGH be inspired Gallery // ARTIST'S STATEMENT // I am an ex-journalist turned full-time photographer. What started as a hobby soon led me to learn and master the craft of photography, whilst I was working covering a few major Art, Cultural and Heritage events across Delhi and India. I exhibited a knack for capturing portraits and live performances. I don’t just want to point my camera and click photographs. I click according the way the subject make me feel or I click on the connection of the emotion between myself and the subjects. My main goal as a photographer is to create the kinds of images which combine a strong sense of story and expression of people. LOCATION INDIA CAMERA Nikon CATEGORY dance photography @RAJLAXMIPHOTOGRAPHY FEATURES // Rhythmic Expression

PICTORIAL STORY PICTORIAL STORY July 2, 2021 JURJEVO ST. GEORGE'S DAY Photography by Pavieł Hancar Story by Karin Svadlenak Gomez Pavieł Hancar is based in Minsk, Belarus. He enjoys finding beautiful and uplifting scenes, and he considers finding beauty with his lens his calling. Pavieł visited Cividaūka village in the Minsk region in May 2021 and documented the Belarusian traditional St George's day celebrations in the countryside. St. George's Day is a Slavic religious holiday, the feast of Saint George. Depending on the country, it is celebrated either on April 23 by the Julian calendar or on May 6 by the Gregorian calendar. In Belarus St. George is called Jur’je. Similarly in Croatia and Slovenia, a Roman Catholic version of Saint George's Day, Jurjevo, is celebrated. In the Eastern Orthodox church, Saint George, who is held to have died for his faith and who is usually depicted as killing a dragon while riding his horse, is one of the most important saints, a patron saint in military tradition. Christian synaxaria hold that Saint George was a martyr who died for his faith. But the celebrations have meaning beyond Orthodox Christian tradition, they are also more generically a spring festival, since it is at this time of year that the farmland turns green again and the cattle can be led to pastures. The festivities, although now part of Christian tradition, actually have a relationship with pagan customs. In Slavic folklore and Baltic mythology, the god Jarilo is associated with death and rebirth and agricultural fertility, much like the Greek gods Adonis and Olympian god Dionysus. In Christianity Jarilo became identified with St. George and St. John as the festivities of those two saints fall in the period between the first growth of grass and leaves and harvest, which made them suitable as Christian interpretations of this god. There are other variants of the names of the holiday dedicated to this deity, such as Jarylavica, Jarylki. In Belarus villagers go out with songs and dishes of offering to inspect their fields turned green. The first grazing of cattle is also connected with Jur’je. The spring feasts’ cycle includes holidays such as Shrovetide, Easter and the celebration of St. George. Each of them is characterized by specific cycles of spring songs. The oldest one is "Jur’je" (Jura, Jury, Jehory), a traditional holiday celebrated on May 6 (April 23 in the old style). It is one of the most distinctive holidays of the agricultural calendar, furnished with a series of solemn ceremonies. The holiday is celebrated in honor of St. George the Victorious - the patron saint of livestock and peasant fields. Spring Jur’je marks the true beginning of spring. A typical ritual, which is reflected in "St. George's Day" songs and calls to find the keys and release his mother (Earth, Nature), is to give free rein to grass, flowers, and animals (a symbol of life in most Indo-European cultures), and to serve pancakes (the wheel is an important magical form - it reflects the sun.) St. George's Day is celebrated in Belarus by all people, but it is especially considered to be a holiday of shepherds. On this day every sheep owner gives the shepherds bread, lard, eggs, vodka, and they, after having driven the animals into the field, set up a feast for themselves there and necessarily bake scrambled eggs in the afternoon, with the participation of all the shepherds of the village. If there is the least bit of disturbance to this ritual of the preparation of scrambled eggs around the gathered herd, it is said that St. Yuri will consider himself offended and will give the flock and shepherds to the wolves. St. Yuri is considered the ruler of wild beasts, and predators have the right to eat the animals he allows them to have. A camel, horses and a donkey also live at the farmhouse in Cividaūka, where “Koła” club decided to organize a festival. After the Jur’je celebrations, local girls made a short performance - unrelated to the St. George's festivities - with a pony dressed up as an angel and a "demon"-horse. The role of Yury in the livestock business is very eloquently evidenced by charms chanted during the grazing of cattle to ward off various dangers: “On the blue sea, on the lukomor there is an oak, under those oak there is a white stone. As no one eats a stone, so no one eats or takes our cattle: neither a reptile crawling, nor a running beast. I beg you, I beg you, St. George, to come out with your locks, your golden keys. Lock your servants unfaithful teeth, lips: the first, the middle, the last. That our cattle seemed in a field - a mint, a stone, in a valley - a mound, and in wood - a log, a bush, on the road - a falcon. Save, save our cow. Safely, calmly, until it comes back from the field.” © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar © Paviel Hancar St. George's day is celebrated not only in Eastern Europe and the Balkans, but also in Western European countries such as the United Kingdom and Spain, in somewhat different manifestations. In fact in the past St. George's Day was a major feast and national holiday in England, as important as Christmas from the early 15th century, though now it has waned in importance by comparison. Wikipedia articles on Jarilo and St. George, and information received from Pavieł Hancar view Pavieł's portfolio Read an interview with Paviel >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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 brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST In "Bifröst," Romain Coudrier masterfully captures Norway's timeless beauty, blending myth with modernity through black and white photography. A stunning exploration. MUD Dedipya Basak's documentary project explores an 800-year-old lake's struggle against global warming, highlighting its relevance and urgency in modern times. A WORLD WITHIN REACH In his Cuba project, Pedro Vidal celebrates human resilience and warmth through captivating imagery, revealing photography's profound ability to encapsulate emotions and memories. UNVEILING VULNERABILITY In a world where masculinity is often synonymous with stoicism and strength, Francesca Tiboni challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. TRANSCENDENTS: SPIRIT MEDIUMS IN BURMA AND THAILAND Mariette Pathy Allen's visual narrative celebrates authenticity, spotlighting Spirit Mediums' enigmatic presence in both possession and daily life. She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. ON THE TRAIL OF LOVE LOST Through Sasha’s photo essay, we are given a glimpse into a beautiful love story and the unbreakable strength and resilience of the human spirit. Join us as we explore Sasha Ivanov’s heartfelt tribute to Lydia and Nikolai. SAHIB: THE FRANKINCENSE BOY France Leclerc’s documentary exploration embraces the community finding captivating stories for her visual translations. Her story takes us to the village of Poshina, where we meet Sahib. THEY HAVE GONE Lorenzo Vitali felt compelled to explore the landscapes of Eastern Veneto, to understand its emotional affective relationship and document it through his photography. I AM WATER Paola Ferrarotti explores her deep connection with the water and how it has transformed her understanding of life and herself.

Wandering the streets with my camera brings me a deep sense of happiness and contentment. I immerse myself in the atmosphere, always looking for the unexpected gifts that street photography offers — the people, their presence in public spaces, their gestures, expressions, and moments of humour. I am drawn to the subtle details of everyday life, returning to familiar corners where light shifts, shadows deepen, and colors blend until the whole mundane scenario changes to a magical one. Street photography gives me the freedom to create and express myself in my own way. MEERA NERURKAR ARTIST'S STATEMENT // Wandering the streets with my camera brings me a deep sense of happiness and contentment. I immerse myself in the atmosphere, always looking for the unexpected gifts that street photography offers — the people, their presence in public spaces, their gestures, expressions, and moments of humour. I am drawn to the subtle details of everyday life, returning to familiar corners where light shifts, shadows deepen, and colors blend until the whole mundane scenario changes to a magical one. Street photography gives me the freedom to create and express myself in my own way. LOCATION Düsseldorf GERMANY CAMERA/S Fujifilm X100V, Leica Q3 CATEGORY street @VNMEERA FEATURES // An Ode to Spontaneity and Serendipity

Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). RICHARD KOENIG be inspired Gallery // ARTIST'S STATEMENT // Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). LOCATION New York UNITED STATES CAMERA Nikon D850 CATEGORY documentary, conceptual WEBSITE http://people.kzoo.edu/~rkoenig/homepage.html @RICHARDKOENIG6644 FEATURES // City As Metaphor

INTERVIEW INTERVIEW April 12, 2020 THE MARVELS OF DAILY LIFE Photography by Mary Crnkovic Pilas Interview by Karin Svadlenak Gomez Born and raised in Sydney, Mary Crnkovic Pilas moved to Zagreb Croatia in 1992 after completing her Bachelor of Arts majoring in Music and French. With an interest in photography, Mary attended courses at the Zagreb Photo Club to improve her skills. However, due to work and family obligations, she hung up her camera for many years. After completing The Camino de Santiago, a large network of ancient pilgrim routes that stretch across Europe and come together at the tomb of St. James in north-west Spain, Mary once again took up photography. She loves to document ordinary people and everyday scenes, and shoots mostly in black and white. “I have always been interested in photography but my love for it was rekindled after completing the Camino Portuguese in 2016.” IN CONVERSATION WITH MARY CRNKOVIC PILAS THE PICTORIAL LIST: Mary, where do you find your inspiration? MARY CRNKOVIC PILAS: In everyday situations on the street. TPL: Do you have a different style of photographing today than when you first started? MCP: I would say that it hasn’t changed so much but perhaps evolved and improved. I have always loved street photography and still do. TPL: Where is your favourite place(s) to photograph? MCP: The streets of Zagreb in Croatia. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? MCP: Despite what people say, I think equipment is important, e.g. how well the camera performs at high ISOs (I love to do night photography so this is quite important to me), how fast it focuses, etc. So although I don’t believe that equipment will not make you a better photographer, it does help you to capture your vision. The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street. - Robert Doisneau TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? MCP: I think that Elliott Erwitt said it best - “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place…I’ve found it has little to do with the things you see and everything to do with the way you see them.” TPL: Have you been involved in any other artistic fields other than photography? MCP: Yes, I am actually a musician by trade. TPL: Who are your favourite artists? MCP: Definitely the old classic photographers such as Robert Doisneau, Henri Cartier Bresson, Elliott Erwitt...I also love documentary photographers such as Don McCullin, David Turnley and Peter Turnley. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MCP: Yes, I am working on capturing Croatian traditions on UNESCO’s List of Intangible Heritage. It’s going to take a while but I am in no hurry to complete it. I have so far captured two of the 14 items on the list 🙂 TPL: "If I wasn't photographing what would I be doing?... MCP: Singing." Mary’s work captures the beauty and vibrancy of everyday life in her home city of Zagreb. Her photographs capture the unique and marvel moments of ordinary people and their everyday scenes. To experience more of Mary’s amazing work, please connect with her on her website and Instagram, using the links below. Come explore and appreciate the beauty of everyday life in Zagreb and Mary's travels! VIEW MARY'S PORTFOLIO Mary's website >>> Mary's instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons.