PICTORIAL STORY PARALLEL REALITIES The impact of socioeconomic forces and social norms takes quiet shape in Catia Montagna’s work, where small, seemingly insignificant moments reveal the ephemeral and existential layers of the human condition. February 23, 2024 PICTORIAL STORY photography CATIA MONTAGNA story CATIA MONTAGNA introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Catia Montagna is a photographer with a unique perspective on the world around her. With a Ph.D. in Economics and a chair of Economics at the University of Aberdeen, Catia’s background as a social scientist has carved out a distinct place for herself in the world of photography. From the simple act of holding a camera to framing and clicking, each step of the process allows Catia to see and understand the world in a different light. With her camera, Catia explores the impact of socioeconomic factors and social norms on our daily lives, revealing in her photos the subtle poetry of small, insignificant moments that capture the human condition. Born in Italy, Catia splits her time between the United Kingdom and her home country. From a young age, Catia has been drawn to the art of photography. Armed with an old camera and no film, Catia fondly recalls she would wander through the world, capturing moments in her imagination. This passion for photography was mostly a personal pursuit for Catia, and it did not go beyond sharing her photographs with friends and family. However, in the early 2000s, she took a short darkroom course at the Dundee Contemporary Arts Centre, and this opened up new opportunities for her. It not only brought her into contact with other photographers but also gave her the chance to exhibit some of her work in Scotland. This experience later encouraged Catia to share her work on social media and interact more with others who shared her passion for photography, leading to collaborations with other artists and featured in magazines. Catia generously shares with us her ongoing project, comprised of photographs taken at different times and in various locations around the world. This collection does not have a specific documentary purpose but rather serves as a visual reflection of her personal growth and artistic evolution. As we engage with her story and the accompanying photographs, we are invited to witness Catia’s perspective, one that captures the complexity of the world and the lived experiences of humanity with all its complexities and beauties. “I consider consumerism as a form of fascism worse than the classical one...A form of fascism capable of homogenising societies by depriving of reality the different lifestyles.” - Pier Paolo Pasolini _ The street is alive and speaks of our existence. When I photograph the street, I like to capture simple moments of everyday life probably immediately forgotten by those who lived them. I am drawn to gestures, expressions, and atmospheres that, in movement or in stillness, reflect nuances of life that reveal existential tensions and what is universal about the human condition. Wandering around our cities, in the western world and beyond, one cannot fail to perceive, through the filters of the specificities of time and place, how the consumeristic nature of our societies commodifies our daily experiences and acts as a force towards the homogenisation of our needs and of the lifestyles we strive to achieve. Pasolini called it the ‘destructive homologation’ of consumerism. This homologation hinges on a dichotomy between two parallel worlds: the ‘real’ one of ‘normal’ people going about their lives and the artificial one that the images and messages we are bombarded with everyday are designed to draw us into. By offering the alluring suggestion of a comforting escape from our ‘normal’, these images generate ever increasing material needs. But crucially, they also propose unattainable role models – particularly, but not exclusively, for women. Palpable is then the contrast between our real lives and the idealised lives of this glossy other world we are invited to crave for and that has the power to make our normality, and our humanity look so imperfect. © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna © Catia Montagna As we come to the end of our journey through Catia Montagna’s work, we are reminded of how photography captures the essence of our existence in all its complexities. Catia invites us to reflect on the impact of societal norms and consumerism on our daily lives, while also celebrating the beauty and poetry found in small, seemingly insignificant moments. As we continue to navigate through a world full of contradictions, Catia’s unique perspective reminds us to pause and appreciate the simple yet profound moments that make us human. With her ongoing projects and collaborations, Catia continues to inspire us to see the world from a different perspective and embrace the imperfections that make us who we are. She is currently working with award-winning poet Andy Jackson on a photo-poetry book based on her photographs. Have a look at her portfolio and follow her links for the next chapter in Catia's journey and the unique perspectives she will undoubtedly capture. view Catia's portfolio Website >>> 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 >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

I was born in 1986 in Brazil, and I am a portraiture and documentary photographer based in Barcelona, Spain. I have a degree in International Relations, a professional studies and a postgraduate degree in Photography. Photography came up late in my life but I was always connected to art. I found photography a way to be close to those things that I found splendid, a passport to places and situations I wouldn't be if it wasn't for the camera. At the same time, I can create art on itself and share my view with others. My work has been published and exhibited in different places such as El Periódico, National Geographic Brazil, Photogenic Festival and more. PEDRO VIDAL I was born in 1986 in Brazil, and I am a portraiture and documentary photographer based in Barcelona, Spain. I have a degree in International Relations, a professional studies and a postgraduate degree in Photography. Photography came up late in my life but I was always connected to art. I found photography a way to be close to those things that I found splendid, a passport to places and situations I wouldn't be if it wasn't for the camera. At the same time, I can create art on itself and share my view with others. My work has been published and exhibited in different places such as El Periódico, National Geographic Brazil, Photogenic Festival and more. LOCATION Barcelona SPAIN CAMERA/S Fujifilm Xpro2, Fujifilm XT2 WEBSITE https://www.pedrovidal.com.br/ @_PEDRO_VIDAL FEATURES // A World Within Reach

I strive to create images that elegantly articulate the totality of existence, focusing heavily on life’s underlying instinctive, carnal nature in the face of fragility and impermanence. The concept of morality in relation to mortality has possessed a significant presence within the history of art, ranging from altarpieces to the work of the Dutch vanitas painters. Manifesting melancholic, seemingly damning themes with beauty and precision, as these artists did, results in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature. Through these images, I aspire to make apparent the restlessness of a life that is knowingly so temporary and vulnerable. I have always thought of my work as theater or as a book, with each series being an act or a chapter. In my prior work, the content was fleshy and lush, using wine and blood as frequent allegorical symbols inspired by Bacchanalia and Christian iconography. I now journey into a new narrative world where the feast has dried up and pleasure has subsided, transformed, and ultimately, transcended. The wine is replaced by dirt and the flesh has withered away to the bone in a seemingly apocalyptic way. Insects, including moths, beetles, cicadas and locusts are significant characters, multiplying throughout the series and eventually overtaking the tableaux. They introduce a heightened sense of the frantic primal instinct that exists within all living creatures, including humans. End of the world imagery and depictions of Hell from art history, as well as literature, such as Dante's Divine Comedy, has been a source of inspiration. These works possess a dramatic, eccentric, visceral chaos, while simultaneously possessing an ornate, sensual and romantic quality. Last Judgement paintings, like that from Michelangelo and Bosch, often depict skies filled with constellations of falling or flying angels, creatures and demons, which has become referential for the composition of the figures. The concept of Hell is varied and open to interpretation. It can be an actual physical terrain or a space within ourselves. As the work continues to evolve, it takes on even more of an earthiness while exploring themes of transcendence through suffering. It is moving toward being focused on the concept of arriving at Paradise as a result of having walked through Hell. TARA SELLIOS I strive to create images that elegantly articulate the totality of existence, focusing heavily on life’s underlying instinctive, carnal nature in the face of fragility and impermanence. The concept of morality in relation to mortality has possessed a significant presence within the history of art, ranging from altarpieces to the work of the Dutch vanitas painters. Manifesting melancholic, seemingly damning themes with beauty and precision, as these artists did, results in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature. Through these images, I aspire to make apparent the restlessness of a life that is knowingly so temporary and vulnerable. I have always thought of my work as theater or as a book, with each series being an act or a chapter. In my prior work, the content was fleshy and lush, using wine and blood as frequent allegorical symbols inspired by Bacchanalia and Christian iconography. I now journey into a new narrative world where the feast has dried up and pleasure has subsided, transformed, and ultimately, transcended. The wine is replaced by dirt and the flesh has withered away to the bone in a seemingly apocalyptic way. Insects, including moths, beetles, cicadas and locusts are significant characters, multiplying throughout the series and eventually overtaking the tableaux. They introduce a heightened sense of the frantic primal instinct that exists within all living creatures, including humans. End of the world imagery and depictions of Hell from art history, as well as literature, such as Dante's Divine Comedy, has been a source of inspiration. These works possess a dramatic, eccentric, visceral chaos, while simultaneously possessing an ornate, sensual and romantic quality. Last Judgement paintings, like that from Michelangelo and Bosch, often depict skies filled with constellations of falling or flying angels, creatures and demons, which has become referential for the composition of the figures. The concept of Hell is varied and open to interpretation. It can be an actual physical terrain or a space within ourselves. As the work continues to evolve, it takes on even more of an earthiness while exploring themes of transcendence through suffering. It is moving toward being focused on the concept of arriving at Paradise as a result of having walked through Hell. LOCATION Boston UNITED STATES CAMERA/S Zone VI 8x10 Field Camera WEBSITE http://www.tarasellios.com/ @TARASELLIOS @TARA.SELLIOS FEATURES // Primal Instinct

PICTORIAL STORY FINDING HOPE AT THE UKRAINIAN BORDER When the war erupted on Ukraine, Sonia Goydenko stepped into the heart of the crisis. Volunteering her skills on the ground, she now shares a powerful, firsthand account of resilience, humanity, and what it means to bear witness in a time of conflict. June 17, 2022 PICTORIAL STORY photography SONIA GOYDENKO story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Throughout history photographers have been inspired to capture those moments that create a visual story that speaks a thousand words. Sonia Goydenko is a photographer that has mastered the art of visual storytelling, making meaningful connections between her subjects and the viewers. In just a fraction of a second, she finds the truth in the moment, bringing a genuine experience to the viewer. For Sonia the crisis in Ukraine is more than a tragic event. It strikes Sonia through the heart; she has a very personal connection to Ukraine. Sonia and part of her family left Ukraine as refugees in 1991 and immigrated to the United States. Her father, grandmother, and aunt still live in Ukraine. Sonia has experienced the perils of having to leave everything behind, depending on humanity and what felt like miracles, to emigrate from Ukraine. When the war broke out in Ukraine in February 2022, it brought back her memories of her own family's flight from Ukraine in 1991. Sonia was compelled to help in some way, remembering well the help she and her family received when they left Ukraine as refugees. Sitting at home, depressed, and watching the news and seeing her family suffering, Sonia decided to take some sort of action. Inspired by her close friend, Megan Kwasniak, a Polish doctor and photographer living in Florida who had the idea of heading to the border and working in a medical tent, Sonia decided to join her. Sonia packed her bags and offered her services in a small town called Medyka, the largest refugee camp on the Ukraine-Poland border. Being fluent in the Russian language and understanding Ukrainian, Sonia volunteered her services as a translator for the refugees fleeing Ukraine into Poland. Sonia shares with us what she experienced there. Sonia was very touched by all of the joy and genuine compassion that she witnessed during her time at the Ukrainian border. How hundreds of people from all over the world left their jobs, homes, families, to come together and help the Ukrainian refugees in any way they could. It was very important for Sonia to show the joyful side of the crisis, to share hope when it seems impossible to find any. Sonia describes her personal journey and the valuable connections she witnessed and helped to create. “Upon seeing people in moments of pain and grief, my immediate reaction was to comfort that person, not take their photograph. I am not a war photographer, and I did not come there to do that. I have met some incredible photographers documenting the harsh realities of this war, but for myself, I felt much more drawn to photographing the joyful moments I witnessed. Many volunteers came to play and entertain the children, and I wanted to photograph those moments: moments of pure joy in dark times. While volunteering on the border isn’t as dangerous as crossing into war zones and delivering medical aid, it’s still an important job. The people fleeing the war and coming through the camp will not just remember the horrors of their experience but will also have with them these touching moments of feeling seen and cared for, not forgotten by the world.” Memories came flooding back to Sonia, of her family's journey, and how life has come full circle. Sonia went back to help her fellow Ukrainians, giving the same hope to them that her family had received. Sonia is a living example that life can get better. Her open arms and loving smile were hope and inspiration to walk forward into their unknown futures. Sonia thinks often about all the help her family needed to emigrate from the Ukraine in 1991 and found it a gift to be able to help her sisters and brothers in their time of need. “If this action hadn’t been taken, I could’ve been the one fleeing gunfire and bombings, crossing the border into Poland, boarding the bus to Przemyśl, and heading into the unknown with no home - instead of being the American volunteer on the other side welcoming the refugees. I began to think of how blessed I am, how lucky I am to have a home to return to. Although I still feel heartbroken after returning from the border, going back through some of the photos I took during my time there, I am reminded of the joy that each individual can bring, the compassion and warmth that I saw so many people give openly and freely. I really believe that it’s only through us, individual beings, that any change can be brought about.” After looking through the images Sonia has shared with us, you can see the personal connections she makes, and the hope she brings to the refugees she translates for. The reassurance they feel when they know their words can be understood, and they can understand in their language the options they have moving forward. We thank Sonia for sharing her personal journey with us, and we are humbled by her efforts and the genuine connections and contributions she has made in aiding in relief for the refugees fleeing Ukraine at Medyka, Poland border. The bus to Przemyśl during the golden hour. © Sonia Goydenko © Sonia Goydenko A shadow selfie in blue and yellow. © Sonia Goydenko © Sonia Goydenko © Sonia Goydenko © Sonia Goydenko These images specifically from the bus stop where refugees go after they have gotten food, drinks, clothes, SIM cards, toiletries, and toys for the kids. People wait very worried that the bus will leave without them. I assure them that they have time and that a bus comes every 20 minutes and that even if they miss this one, there will be another in a few minutes. Most of the refugees have been traveling extensively for days. Children often vomit from the constant motion sickness and nausea. Many have been on buses and trains for days. The Polish army and volunteers help the refugees board the buses - assisting them with luggage and explaining to them where the buses are heading. There are refugees waiting for buses at all times of the day in all kinds of weather-to board the next step of their gruesome and tiring journey. © Sonia Goydenko Twin Ukrainian boys with their dog, waiting for the rest of their family to cross the border. All were happily reunited. © Sonia Goydenko © Sonia Goydenko A child joyfully plays with the Easter Bunny, having just crossed the border from Ukraine into Poland. © Sonia Goydenko © Sonia Goydenko The largest refugee tent in the camp - for women and children to rest, eat, and sleep in. © Sonia Goydenko © Sonia Goydenko These were taken when I crossed the border into Ukraine to help out a friend working in a truck giving out drinks and food for people waiting to go into Poland. © Sonia Goydenko © Sonia Goydenko © Sonia Goydenko © Sonia Goydenko A dog, a volunteer, and a young refugee in the Medical tent where I worked at the border. Most of my time was spent translating for doctors and refugees who came to visit this tent. © Sonia Goydenko At the mother/children tent: a baby teething and biting my finger! © Sonia Goydenko © Sonia Goydenko © Sonia Goydenko When Sonia is not off lending a helping hand you can find her in the streets of New York City where she finds much of her inspiration as a renowned street photographer. Sonia has received awards from numerous festivals, including Italian Street Photo Festival, Miami Street Photo Festival and Aussie Street Photography Festival. She is a member of the New York City Street Photography Collective ( @nycspc ) and her work was recently exhibited in NYC by Women Street Photographers. Sonia has been published in Huffington Post, Eyeshot Magazine, and various other mediums. In addition to photographing the streets daily, Sonia manages to find time to teach street photography workshops and give portfolio reviews. If you ever have the opportunity to take her workshop or have your portfolio reviewed, you will find it a very rewarding experience. What else does Sonia do, well she runs the Instagram page @showmeyourduds , an educational platform created for photography students, where talented photographers willingly share the images that they consider failures. During COVID-19 lockdown, Sonia told us how she turned her lens on her family and herself, creating an intimate series of self-portraits. Then in February of 2022 Sonia traveled to the Ukraine-Poland border to translate for and photograph refugees, and her experiences with them. She works directly with doctors who drive medical aid into Ukraine and has been raising money to buy them medical supplies. Sonia currently lives in New Jersey and photographs in New York City, Florida, and anywhere else she goes. Make a connection and be inspired through her photography. view Sonia's portfolio Website >>> 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 >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

I am a documentary photographer and visual artist based in New York City, though my roots trace back to Elbasan, Albania. addresses political, social, and cultural realities on issues such as migration and inequality, as well as our disconnection to the natural world and environmental degradation. Through vibrant colors and serene imagery, my photographs are often in dichotomy with the subject matter at hand. Drawing inspiration from the social practice field and the feminist art movement, she seeks to join the dialogue of Drawing from the social practice field and feminist art movement, I’m driven by the belief that how art can be a force of change and challenge dominant narratives around how we see the world and each other. With a foundation in political science and a deep understanding of geopolitics, I’ve dedicated years to studying political movements, revolutions, and global inequality. This perspective is integral to my artistic vision and practice. MEI SEVA I am a documentary photographer and visual artist based in New York City, though my roots trace back to Elbasan, Albania. addresses political, social, and cultural realities on issues such as migration and inequality, as well as our disconnection to the natural world and environmental degradation. Through vibrant colors and serene imagery, my photographs are often in dichotomy with the subject matter at hand. Drawing inspiration from the social practice field and the feminist art movement, she seeks to join the dialogue of Drawing from the social practice field and feminist art movement, I’m driven by the belief that how art can be a force of change and challenge dominant narratives around how we see the world and each other. With a foundation in political science and a deep understanding of geopolitics, I’ve dedicated years to studying political movements, revolutions, and global inequality. This perspective is integral to my artistic vision and practice. LOCATION New York UNITED STATES CAMERA/S Pentax K1000 with Kodak Porta 400 film WEBSITE https://meiseva.com/ @MEI__SEVA FEATURES // The Red Poppy and the Sun

My lifelong interest in photography has really sparked into a passion in the last couple of years.  Changes in my life caused me to have more of an emotional connection with the world around me, and I started to notice the changing urban landscape, and how the ordinary and mundane can be quite extraordinary. I quickly upgraded from a smartphone to a camera, and then a better camera (which I take with me everywhere, just in case!).  I am really drawn to shooting at night, particularly urban landscapes with a cinematic atmosphere, but I am nowhere near where I want to be yet. It's a constant process of experimenting and trying to improve, and searching for that elusive shot. JULES CARR My lifelong interest in photography has really sparked into a passion in the last couple of years. Changes in my life caused me to have more of an emotional connection with the world around me, and I started to notice the changing urban landscape, and how the ordinary and mundane can be quite extraordinary. I quickly upgraded from a smartphone to a camera, and then a better camera (which I take with me everywhere, just in case!). I am really drawn to shooting at night, particularly urban landscapes with a cinematic atmosphere, but I am nowhere near where I want to be yet. It's a constant process of experimenting and trying to improve, and searching for that elusive shot. LOCATION Surrey ENGLAND CAMERA/S Sony a7ii WEBSITE http://www.julescarrphotography.com @JULESC_PHOTOGRAPHY FEATURES // After Dark

Mark Davidson is a radio producer and photographer based in Melbourne, Australia. MARK DAVIDSON Mark Davidson is a radio producer and photographer based in Melbourne, Australia. LOCATION Melbourne AUSTRALIA CAMERA/S Fujifilm XT-20, Nikon D750 WEBSITE http://www.markjdavidson.com @MARKJDAVIDSON @DAVIDSONJMARK FEATURES // Street Beats Welcome to Street Life

As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. DEAN GOLDBERG As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. LOCATION New York UNITED STATES CAMERA/S Nikon D70 (past), Fujifilm GFX 50S (present) WEBSITE https://deangoldberg.com/ @DEAN.GOLDBERG @DEAN.GOLDBERG.507 FEATURES // History In The Making

PICTORIAL STORY PRAYING FOR PEACE September 18, 2020 PICTORIAL STORY Photography by Adrian Whear Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Bangladesh is the eighth most populous country in the world, with a population exceeding 162 million people and one of the most densely populated countries in the world. It is also one of the most ethnically homogeneous states in the world: people of Bengali ethnicity make up 98% of the total population, and it has the fourth largest Muslim population of any country. In 2019, Australian photographer Adrian Whear found himself travelling through the country when he witnessed one of the largest religious gatherings in the world, the Bishwa Ijtema. "I was speechless. My spine tingled as surely I was witnessing one of humanity's great mass events. How had I never heard of this? I was caught between wanting to capture what was before my eyes but also not to miss absorbing what I was witnessing. After a few minutes the praying was over, there was then a minute's silence to remember all the Muslim people lost since the last Bishwa Ijtema, then the people returned to their cars, buses, rickshaws, returned to their shopping, returned to the congress. The horns started blaring and the traffic took back over its rightful ownership of the roads. That was it over, but it's 5 minutes that will stick with me forever." Every year, a very large Muslim congress takes place, the Bishwa Ijtema (“world gathering”), the second largest Muslim congregation after the Hajj pilgrimage. It is usually held in January, but in 2019, when Adrian visited the country, the Bangladesh national elections were to be held in January. At the last minute the government directed the Bishwa Ijtema organisers to reschedule the 2019 assembly to February, providing Adrian the opportunity to witness this extraordinary event as a spectator. “It was just spine tingling to witness. Truly one of humanity's most amazing events. I would say it is akin to the great migrations in Africa,” he says. There are large tent compounds that are fenced off to non-Muslim people, but Adrian could see into these from nearby footbridges. This is not a festival of dance and celebration but to discuss the tenets of Islam. An ijtema is one of the regularly scheduled events organised by the Tablighi Jamaat. It is the annual gathering of followers, which is held at the Tablighi headquarters in various countries. Tablighi Jamaat is an orthodox Islamic movement that focuses on practising the religion as it was practised during the lifetime of the Islamic prophet Muhammad and on spreading the faith. Established in India in 1926, it began as a response to a perceived deterioration of moral values and an alleged neglect of the traditional aspects of Islam. The movement is still headquartered at Nizamuddin Markaz in South Delhi, India. The Tablighi Jamaat adherents are said to be non-political, and the organisation's representatives strictly avoid political activities and debates and instead focus on religion. As such it is also seen by some as a counterpoint to several political Islam movements. The Tablighi teachings are in accordance with Sunni Islam, the largest denomination of Islam, followed by 87–90% of the world's Muslims, which is characterised by a greater emphasis on the traditions of the Prophet Muhammad (the word Sunnah refers to the behaviour of the Prophet). According to the Tablighi ideas, the promotion of dawah (proselytising Islam, or missionary work) is a mechanism of self-reform and does not require the highest standards of Islamic scholarship. All Muslims, according to this, are expected to engage in dawah and should adopt - and invite others to - the Islamic lifestyle, which follows a strict code of conduct and dress. The Tablighi are in effect missionaries wanting to propagate a traditional Islamic way of life by peaceful means, teaching and encouraging others through personal engagement, such as preaching. After India was partitioned in 1947, the Tablighi movement expanded within South Asia with a Pakistan Chapter. This remained the largest chapter until Bangladesh became independent from Pakistan in 1971. The movement now has a worldwide presence, including in Europe and the United States. Since the movement is relatively loosely organised and there is no formal 'membership registration' process, the exact follower numbers are unknown. Estimates of current adherents range from between 12 to 80 million across more than 150 countries. A typical ijtema, such as the one witnessed by Adrian, continues for three days and ends with an exceptionally long prayer. Millions of Muslims congregate for four days on the outskirts of Dhaka, living in tent cities, to pray and to listen to scholars recite from the Qur'an and explain the meaning of verses. During the Bishwa Ijtema all the mosques are so full that millions of people move out onto the streets to pray, halting the seemingly endless gridlocked traffic. In Bangladesh, where Adrian was able to observe the annual Bishwa Ijtema in 2019, the largest of such annual gatherings is held. More than 3 million people congregate at the Bengali meeting near the capital Dhaka. Speakers include Islamic scholars from various countries. Millions of devotees come to discuss religion and strengthen their faith and to receive new impetus for their missionary zeal. The congregation takes place in an area spanning over five square kilometres in Tongi, an outer suburb north of Dhaka. Bangladesh, with one of the world's largest Muslim populations, also has one of the world's poorest populations, with most of its people dependent on public transport to travel. Buses, trains, boats arrive and depart completely overloaded with thousands and thousands of people, packed inside and out. Many travel on foot. The roads are jammed for many kilometres. © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear Bangladesh is a remarkable country with an incredibly vibrant culture, a testament to which is the Bishwa Ijtema - one of the largest religious gatherings in the world. Adrian Whear's travels through the country provided us with a captivating look at this unique gathering, and with it a deeper understanding and appreciation for Bangladesh and its people. view Adrian's portfolio Read an interview with Adrian >>> Read the story "THE INVISIBLE WORKERS" >>> Instagram >>> Sources used in this story - Björkman, Nina. (2010). The Biswa Ijtema. Scripta Instituti Donneriani Aboensis Wikipedia | Tablighi Jamaat 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 >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. 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My work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. RUSSELL COBB My work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. LOCATION Liphook UNITED KINGDOM CAMERA/S Leica SL2 & Leica M10 WEBSITE http://www.cobbphoto.com @RUSSELLCOBB FEATURES // Transtemporal

I like life that hides behind a stone or inside the cracks of a wall. My way of photographing is spontaneous, unprepared, sometimes a little crude; and it is precisely this feeling of incompleteness that I abandon myself to when I shoot. Humanist, communicator, recidivist romantic and fundamentalist of the handshake. I believe in the time of waiting and I shoot on film because I like having to wait, imagine, almost tremble before being able to see... NICOLA CAPPELLARI I like life that hides behind a stone or inside the cracks of a wall. My way of photographing is spontaneous, unprepared, sometimes a little crude; and it is precisely this feeling of incompleteness that I abandon myself to when I shoot. Humanist, communicator, recidivist romantic and fundamentalist of the handshake. I believe in the time of waiting and I shoot on film because I like having to wait, imagine, almost tremble before being able to see... LOCATION Vicenza ITALY CAMERA/S Rollei 35T, Leica M6 WEBSITE https://www.nicolacappellari.com/ @NICOLA.CAPPELLARI FEATURES // Analogical Limbo

Street photography, to me, is fun. The fact that no moment can be repeated gives me the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. As Obie Oberholzer said - "I don’t believe that one photograph is better than another; rather one is more interesting than another. So, basically, 'you get what you take'. If the objects in front of the camera are interesting enough ‘you take them’, and if they are not 'you make them'." CHETAN VERMA Street photography, to me, is fun. The fact that no moment can be repeated gives me the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. As Obie Oberholzer said - "I don’t believe that one photograph is better than another; rather one is more interesting than another. So, basically, 'you get what you take'. If the objects in front of the camera are interesting enough ‘you take them’, and if they are not 'you make them'." LOCATION Gurgaon INDIA CAMERA/S Nikon D750, Fujifilm XE4 @CHETANCLICKS FEATURES // A Man's Best Friends