INTERVIEW INTERVIEW February 10, 2020 HER WONDERLAND Photography by Mara Interview by Melanie Meggs The streets are alive with stories and secrets, but few can express them as artistically as Mara. Her unique style of street photography captures the poetic beauty of the city, imbuing it with the mesmerizing atmosphere of film noir cinematography. With her masterful use of contrast and lighting, Mara is able to create an alluring, emotive environment through her photographs - a place where even in the darkness, something beautiful and captivating lies in wait. Her photographs are a window into a world where the depths of the shadows and the highlights of the day meet, coming together to form a tangible, dynamic story within every frame. From the gritty grain of the film to Mara’s use of depth of field, every single photograph is an experience in its own right - one that is both mysterious and captivating. Join us as we take a closer look at Mara’s distinctive style of street photography and discover how her captivating images tell their own captivating stories. “The girl who not exist, from the heart to the mind to the eyes to the click...and is her wonderland.” IN CONVERSATION WITH MARA THE PICTORIAL LIST: When did you first become interested in photography, Mara? MARA: I was 10 years old. TPL: Where do you find your inspiration? M: By my emotions at that instance. TPL: Since you began taking photographs, has your style evolved? M: I have no style. TPL: Who are your favourite artists? M: Vivian Maier, Josef Koudelka, Hirohiko Araki, Ferdinando Scianna, Letizia Battaglia, Roger Ballen but the inspiration is born by life and emotions around us. TPL: Where is your favourite place to shoot? M: On the road, in the sky... where everything is (im)possible Quotes are a plus...pictures speak by their own light. My quotes are mine and depends by the emotions I feel in that instance. Who watch the picture, is free to feel different emotions. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? M: What I think is important are the emotions...a tool is just a tool. TPL: What characteristics do you think you need to become a photographer? Do you have any advice for someone starting out? M: Everybody should express themselves in some way. For me, it is photography and music. I do not have anything to teach to anyone, as feelings are what grow up inside people. TPL: Have you ever been involved in the arts before photography? M: Yes TPL: Are there any special projects you are currently working on that you would like to let everyone know about? M: Will see... TPL: “When I am not out photographing, I (like to)… M: I'm not a photographer...I'm just a dreamer.” In conclusion, Mara is an artist that truly speaks to the emotion of film noir. Through her unique style and sound, Mara captures the moody, dark and dramatic atmosphere that is so well-known and loved. If you are a fan of the classic film noir aesthetic, then you won't want to miss out on Mara's art. So dream and connect with Mara - experience the emotion of film noir and get ready to be taken on a captivating journey. VIEW MARA'S PORTFOLIO Mara's instagram >>> read more interviews >>>

INTERVIEW INTERVIEW March 4, 2022 COMEDIANS Photography by Steve Best Interview by Karin Svadlenak Gomez Steve Best is a comedian and a photographer, combining both these passions into a fascinating career. He is also a twin. "My twin brother is ten minutes older than me. Time, I'm told, for my mum to have a cup of tea in-between deliveries," says Steve. Growing up in Surrey in England, Steve now lives and works in London with his wife, son and daughter. Steve has been on the British comedy circuit since 1992 and in that time he has been lucky enough to work with and make friends with a lot of comedians. He is welcome in any green room, camera and all. "So me having a camera doesn’t make me a photographer to them, but just a comedian with a camera," Steve explains. He has an extraordinary talent to capture those rare moments that tell a compelling story with sensitivity, realism and humour. This ten year project has been close to Steve's heart and he has previously published two books 'Comedy Snapshot' and 'Joker Face' with over 1000 comedian portraits. He is due to release his third book 'Comedians', a high end coffee table book, and Steve shares with The Pictorial List some of those selected shots, "I've been documenting my scene, the comedy scene, backstage and on stage, the highs and the lows, the camaraderie and the competition, the loneliness and the isolation, and the outright joy of being a stand-up comedian." We interview Steve to find out more about his new book, himself, his comedy, and his photography. “No one takes photos of comedians like Steve. Why? Because he knows us, because he’s one of us. No one captures the atmosphere backstage like him because no one has the access - to us he’s just Steve, and he’s got his camera with him again, we stop trying to impress or be funny - no mean feat for a comic - and CLICK! he’s got us.” - Harry Hill (comedian) IN CONVERSATION WITH STEVE BEST THE PICTORIAL LIST: Steve please tell us about yourself. Talk to us about your work and life. What made you decide to become a comedian? STEVE BEST: I was born in Epsom, Surrey, England. I now live in London, close to Kings Cross and Russell Square, a member of the Bloomsbury set. 😉 I was so good academically at school but really got obsessed with magic and general performing around the age of 13, and after that couldn’t see myself doing anything else. I have been all around the world being silly, toured with Frank Skinner, been on TV a few times, and have never had an interview for a proper job or indeed had a 'proper' job. I’m visiting lecturer at Middlesex university teaching stand-up comedy on the drama course. TPL: What has it been like, being a comedian during the pandemic? What were the challenges - and were there any opportunities too? SB: It was very tough. Everything went overnight. For everyone in the entertainment industry. Some took to Zoom and social media platforms…but I didn’t quite catch on. I ended up walking around Hyde Park taking pictures of parakeets and swans! And taking out a bounce back loan 😒 TPL: When and how did you become interested in photography? SB: My mum was an artist, a pen and inker. Pretty early on when I started comedy I began to have an interest in photography. I did a darkroom course and hung out at the Battersea Art Centre in their darkrooms. I did a few jobs for my flatmate at the time who worked for Victim Support. I then carried a point and shoot with me when gigging, and the rest is history. TPL: In general, where do you find your inspiration and creativity? SB: That’s a tough one, as I don’t want to come across arty farty, but one’s life, nature, experiences dictate where your creativity and inspiration comes from. Like comedy, one can be taught the mechanics, how to write a joke, hold the microphone etc. but the funny bone, the timing, the funny…Can that be taught? Just like in photography, the basics, how the camera works, the mechanics, light etc. but the creativity and inspiration, it’s just who you are? If you hear a joke said in a certain way you can often tell what comedian said it, just as you see a photograph you can often tell who shot it…Wow! That did get arty farty. TPL: Does being a comedian yourself open doors to photographing your peers? SB: Absolutely. No question. I’ve been lucky to be around, gig with and make friends with a lot of comedians, and so I am one of them. So me having a camera doesn’t make me a photographer to them, but just a comedian with a camera. It takes a comedian to know a comedian and Steve just instinctively knows how to get the shot. The pictures that capture the joy, laughter and camaraderie of those off-stage moments and what it is to be part of the gang of clowns. - Zoe Lyons (comedian) TPL: What is your favourite place to photograph other comedians? Onstage or off? And why? SB: Probably the Comedy Store in London. There is such a history to the place. And on top of that, it really is a great venue to shoot in, because it’s a purpose built comedy club, with great sight lines, weird and wonderful angles, great lighting, and the backstage area, although quite small for such a big club, is full of mirrors, which I love. TPL: What camera do you use? Do you have a preferred lens/focal length? SB: I have been using the Fujifilm X-series cameras for most of my professional life, starting with the marvellous X-Pro1. I now have invested in the medium format GFX50s for my portrait shoots (with the 80mm F1.7 and F32-64 F4), which is just fantastic. In fact I have taken the GFX to live shoots too and although regarded more as a studio camera have worked out a way to get great live shots. I also now have a Leica Q for backstage and some front stage shots. This is a sublime camera and ideal for live work as it’s near silent in operation and great in low light. TPL: You are publishing a big new photobook this year - congratulations! What can we expect to find in it? Where can people get it? SB: I already have two little books out with my shots of comedians and their jokes and facts, Comedy Snapshot (2014) and Joker Face (2017), but this next book, COMEDIANS is the big arty coffee table book. 240 pages with over 100 fine art photographs of my shots of comedians backstage and front of stage. Harry Hill has written the introduction. It’s going to be beautiful. You can pre-order now at www.stevebest.com (please) x. *Editor's Note: If you would like to order a copy of the new photo book, you can order it directly on Steve's website via link below. Show your support, please! I’m also working with a charity, Game Therapy UK, who are helping with the book, and in return I am putting on a show at the Comedy Store for them on Monday 16th May. So far we have Al Murray, Shappi Khorsandi and Nick Helm. And hopefully adding some more big names. Gotta sell those tickets… TPL: What are some of your goals as an artist and photographer? SB: To get this new book out, and then to keep creating lovely work, wherever that takes me. In this interview Steve documents the British comedy scene, backstage and onstage, the highs and lows and the joy of being a comedian. Connect with Steve to follow this brilliant ongoing project. VIEW STEVE'S PORTFOLIO Pre-order COMEDIANS by Steve Best Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW March 23, 2025 EVERYDAY BLACKNESS A Celebration of Strength, Legacy, and Unity Photography by Parvathi Kumar Interview by Karen Ghostlaw Pomarico Parvathi Kumar is a visual storyteller whose work spans the genres of art, documentary and advocacy. Her book ‘Everyday Blackness’ uses portraiture to amplify the underrepresented voices of Black women and celebrate their contributions that enrich the human experience. Born and raised in eastern Canada, Parvathi developed an early love for photography under the guidance of her mother, mastering film techniques before transitioning into digital storytelling. Her artistic journey spans over three decades, blending her technical expertise from a career in IT with an innate passion for visual narratives. Now based in Bridgewater, New Jersey, Parvathi has established herself as a professional photographer with an impressive exhibition history across the United States, Europe, and Asia. Her work has garnered awards and recognition, not only for its aesthetic depth but for its commitment to fostering cultural awareness and social connection. ‘Everyday Blackness’ captures the dignity, strength, and complexity of everyday individuals, offering viewers a window into lives and experiences beyond their own. Parvathi’s book is a profound tribute to the resilience, and contributions of exceptional Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month (IWM). Her authentic portraiture, along with the personal narratives of her subjects, tells a powerful story that highlights the lives of 25 remarkable Black women from New Jersey and New York. These women who, despite systemic barriers, have forged paths as leaders, educators, entrepreneurs, veterans, and advocates. This work is more than a photography book; it is a historical and cultural document that addresses and hopes to counter erasure and misrepresentation. Black women have long been the backbone of their families, communities, and movements for justice, yet their stories are often overlooked. By centering them in her project, Parvathi not only acknowledges their individual journeys but also emphasizes their collective impact on society. The book’s warm, monochromatic portraits and thoughtful interviews create an intimate space where these women’s voices can be heard and celebrated. Their stories reflect perseverance in the face of adversity, offering hope and inspiration to future generations. For IWM, this book serves as a powerful reminder that the fight for gender equality must also address racial justice. It urges us to see the interconnectedness of women’s struggles and triumphs, reinforcing the IWM message that progress for one woman is progress for all. Parvathi Kumar’s work is an opportunity to step outside our usual circles, listen deeply, and recognize the value in diverse experiences. As the world celebrates women’s achievements in IWM, this book stands as a testament to the power of photography in honoring those who have long been at the forefront of change, yet too often remain unseen. “I didn’t want to include celebrities or public figures; though of course impressive, they already have a spotlight. I wanted to feature women who are more relatable, approachable, and who deserve the attention for simply being who they are – hardworking women of color who quietly serve, dutifully taking care of the community in their own ways and resolving serious matters that we often don’t think about. The stereotypes of being uneducated, unaware, weak, aggressive, lacking, or unmannered simply do not hold up. I was able to meet them in their homes, work environments, and other settings reflecting who they are and what they do. It was the simple act of having a conversation and interaction – something sorely lacking in our society today between people who are ‘different’ – that quickly revealed how authentic and relatable they are. In their default mode of modesty and service, many of them were surprised and skeptical as to why I selected them, and I had to remind them that they were more than what they know, exactly the subjects I was looking for - ordinary yet extraordinary. Later when seeing themselves in the book and on elegant gallery walls, they were overwhelmed and delighted.” IN CONVERSATION WITH PARVATHI KUMAR THE PICTORIAL LIST: What initially inspired you to create this book, and how did your personal background shape your approach to documenting the lives of Black women? PARVATHI: The horrific and unforgettable loss of Mr. George Floyd’s life in May 2020 was the inspiration and catalyst. At the time, I was taking an online class through ICP on Visual Storytelling, so the seed for my project and initial photos began there. The idea was to create an antidote to the pain and suffering we were collectively feeling from the tragic event. By celebrating Black culture and specifically everyday Black women with joy and pride, we could learn to banish fear and misconceptions. The work carried on well after the course ended, culminating in a self-published photo book. I began in June 2020, and my goal to release the book in time for February 2021 – Black History Month – was accomplished! The book is now in circulation at two NJ public libraries, is part of an independent Black-female-owned bookstore in Bayonne, NJ, had its inaugural full-scale exhibition in February 2022 at the Visual Arts Center of NJ (I wanted nothing less for the women featured and am grateful to curator Mary Birmingham who invited me to exhibit and shared my vision), and is now in the hands of many readers around the world. I am humbled and honored that this work is touching many hearts and minds. I have always felt injustice and inequality deeply, perhaps because I am a Libra (the symbol for balance, harmony, equality) or someone who is a “visible minority”. After what happened to George Floyd, and knowing that art peacefully protests and raises awareness, there was an urge in me to create. With many years of photography and photo book design experience, I had the skills, resources, and tools to make it happen. When the idea for the book sparked, I ran with it. TPL: What was the most surprising or moving story you encountered while working on this book, and how did it impact you personally? PARVATHI: In terms of surprising stories – and in a good way – two of the senior women told me that growing up they never really experienced racism or discrimination, that their childhoods were generally happy, with good education, and the neighborhoods where they grew up were nurturing and warm. They only encountered racial issues later on in life in their work when trying to help those less fortunate. I was moved by Simone Gordon’s story, a young single mom to an autistic son who was giving back to many other women in need through a direct giving program she founded. Though Crystal Ramsey was diagnosed with HIV in 1991, lost her young son to HIV, and later lost her vision because of HIV medication, she overcame, pursued an education, and now helps others dealing with the illness and other trauma. Not only were the women’s stories eye-opening, but the additional related research and reading I did on Black history while forming the book were also astonishing. I highly recommend reading 'The 1619 Project' (link at the end of interview). TPL: For International Women’s Month, your book serves as a powerful reminder of Black women’s contributions. How do you see it fitting into the larger conversation about intersectional feminism? PARVATHI: Their contributions should definitely be included in wider discourse. Women face multiple barriers all the time. Based on the women in the book, to be someone “of color” and HIV positive, physically disabled, previously incarcerated, or other identity factors is to have to battle through additional barriers often needlessly. So, discussing these topics would create awareness on multiple levels, educate about different forms of discrimination to improve acceptance, and make visible the great contributions of diverse members of society. If I ever extend the series, I hope to include women who are also in the LGBTQ+ community, biracial/multi-racial, on the autism spectrum, and having other identity facets, all to further promote intersectional feminism, and to avoid potentially harmful misunderstandings. At the time of this published interview (March 2025), we are dealing with a US President who seeks to make diversity a “bad word”, thus making it even harder for women of color to rise up, which is all the more reason to push back and promote these women. TPL: How did you go about selecting the 25 women featured in your book, and what qualities drew you to their stories? PARVATHI: Of the 25 women featured, I included only one woman who I knew personally prior to starting. I wanted to allow myself new connections, to prove that these gems of Black women existed and were just a matter of finding. Some of them I had read about or heard speaking at events, and I approached them myself, requesting their participation. The majority were by networking through friends and contacts, and who in turn referred me to other women. If I had had the budget and the time, I would have flown to various corners of the USA (if not other countries) to include women from other geographic locations and areas of work. But as we know, 2020 was the lockdown. Though I was limited to travel mainly within drivable distances, I saw this as the silver lining, the blessing: I knew that in my own backyard were countless Black women just waiting to be discovered, and though 25 is barely scratching the surface, they represent many others just like them. I deliberately chose women of all ages and career paths, of different life journeys and experiences. I was drawn to how each woman was quietly going about their work, contributing in massive ways to the betterment of communities, and I knew that each has a remarkable life story just waiting to be heard. When interviewing I mainly had two questions: 1) What is your life story that brought you to where you are today? and 2) In the context of the Black struggle in the US, what would you like to share with the world? TPL: Each portrait is presented in a warm monochromatic tone. What was your artistic and emotional intent behind this choice, and how does it reflect the essence of these women? PARVATHI: I chose the warm sepia style for several reasons. Firstly, it is aesthetically pleasing, reflecting the warmth of the beautiful souls of these women. Secondly, when viewing monochromatic imagery, the viewer’s experience becomes interpretive, with focus on form, composition, and content – in this case the person. Viewers can read about each woman, and without the distraction of color can reflect and connect with each woman’s story and message. The various “shades of gray” allude to the many layers, nuances, and facets of one’s life. Another important reason is historical: the sepia tone pays homage to and honors the countless inspiring Black women who’ve come before us spanning 400 years on North American land, from the generations of slaves to the Civil Rights activists to today’s elder contemporaries on whose shoulders we stand, whose sacrifices and toil have brought us to where we are now. In turn, these 25 women are continuing the work, leaving a sound legacy and example for future generations to rely on. Finally, a strong reason for the monochromatic tone is as a subtle reminder that we are essentially the same, that within this shell of a human body with diversity of eye color, height, nose shape, tone of voice, and skin color, we have the same beating hearts and blood types coursing through our veins. We are more alike than not. And, if we truly know our history, understand evolution and the roots of homo sapiens, we are all African. I wanted each woman to be my collaborator, to give their input on how they wanted to best be portrayed in the context of their story. TPL: You conducted personal interviews to accompany each portrait. How did those conversations shape the way you photographed each woman? PARVATHI: Historically, Black women had never had a say in matters, their rights coming last if at all. For this project, while I had photographic control and could direct positioning and lighting, I wanted each woman to be my collaborator, to give their input on how they wanted to best be portrayed in the context of their story. Hence, the photos are generally environmental portraits, highlighting their professions, contributions, talents, and skills. The conversations built an important bridge between us, one of trust and understanding, so the women felt comfortable being photographed. They knew that through this project and its exposure, they were being respected, listened to and heard, something that is a constant struggle for Black women far and wide, especially in the most difficult times as a nation. TPL: What were some of the biggest challenges you faced while creating this project, whether artistically, logistically, or emotionally? This was a labor of love from start to finish, from photographing, writing, researching, designing, and self-publishing. While I had previously studied book design and had done my own personal book projects and writings, I was fortunate to have editors help me with reviewing text, photos, and layout. Still, it was an arduous process of finding the best sequence and flow of images, arranging and rearranging mock-ups of pages until it all felt right. Artistically, creating portraiture using the medium of photography is unique and challenging in that from one single vantage point at a time, in a fraction of a second, one must convey the essence of who someone is, reflect their stories, and render them so that viewers may connect with them on a meaningful level. I hope I have done that! Psychologically and emotionally, it was difficult to hear the women’s thoughts on George Floyd and about the Black experience in general. It is hard to reconcile, given all that has happened before and after Mr. Floyd’s death. We have such a long way to go – that’s the burden. TPL: How has your multicultural upbringing and diverse experiences shaped your views on allyship, identity, and the importance of standing in solidarity with marginalized communities? PARVATHI: My parents immigrated from Karnataka (a state in southern India) to Halifax, Nova Scotia in the 1960s where I was born, and later settled in Montreal, Quebec (a predominantly French-speaking province) where I grew up. At home we spoke our mother tongue of Kannada (an official language of India), while being engulfed by French and English. The public schools I attended in Quebec were welcoming, diverse, equitable, and inclusive of students of all backgrounds. I have lived in the northeastern US since 1998. I have thus always resided in generally multicultural, progressive, and open-minded milieus. What a blessing to have learned multiple languages, have friends of all nationalities, and be able to continue honoring my Indian traditions and culture! Multiculturalism and diversity are all I’ve known, what I’ve always appreciated, and am grateful for to this day. As a woman of color, over the years I’ve often found myself to be the only ‘visible minority’ in various groups, activities, and organizations I’ve been involved with, though I’ve thankfully never faced any major hindering discrimination. Hence, I have high standards and expectations on how communities and associations should respect and give voice to all present, especially to visible minorities and those marginalized. Therefore, I will always stand in solidarity with Black women and those who need to be heard most, particularly in the darkest times. Allyship is important, because what affects one affects all. It is our collective experience and history. Black history is our history. Working on this project and documenting the women’s stories further confirmed that ‘caste’, ‘race’, nationality, disability, spoken accent, and other external differences should have no bearing on one’s success. I continue to question, correct, and/or shed my own biases and any wrongly preconceived notions, and realize that there is much I still don’t know! May we be gently curious about one another, and delight in what we discover. TPL: How do you think projects like yours can contribute to broader discussions about race, gender, and equality in today’s world? PARVATHI: There’s no going back in terms of social integration and equality, despite efforts by the current US administration and other foreign governments to do so. It’s simply unconscionable in today’s world. The hope is that viewers and readers would probe into their own history, rationally reflect on any lingering biases or prejudices, examine their surrounding communities’ attitudes and behaviors, and take steps to rectify, repair, and improve; be curious rather than judgmental, open-minded rather than closed, or at least tolerant if not completely accepting – live and let live. Clearly, action is still needed worldwide to let diversity safely thrive. Thankfully progress has been made and there is room for further advancement. Perhaps through this project, others will be inspired to create similar endeavors so we can further be enlightened. TPL: If you could continue this project in a different way or expand upon it, what would the next step look like? Would you consider featuring more women or exploring similar themes in another format? PARVATHI: As mentioned in an earlier question regarding intersectional feminism, I would widen the mix of Black women featured by including those who are LGBTQ+, multi-racial, of other countries settled here, and other layers of identity to get that variety of perspectives. It would also be nice to venture further than NJ, to meet and promote the outstanding women beyond my vicinity. I would add more digital content, with a dedicated website that includes audio and/or video of interviews with the women, behind-the-scenes moments, and other resources. A physical, tactile book is always special, and perhaps another volume would be in order. Or I can revisit these 25 women in the coming years and produce a “Where Are They Now?” special edition! I would love to do a similar series promoting Latina women, Native American women, autistic women, and other minority groups who are overlooked, underrepresented or unfairly represented. TPL: Who, and what inspires your visual storytelling? What do you hope you inspire in others? What do you want other people's takeaway to be? What is your personal takeaway? PARVATHI: There’s something about photography as the medium for visual storytelling and portraiture that is captivating. Photos transcend what is shown. The photographer can portray someone’s likeness yet leave much to be discovered, interpreted, and experienced by the viewer. Portraiture and documentary photography are genres I’m drawn to, for the artful and lasting impressions they leave. The work of many documentary photographers and photojournalists past and present have inspired and influenced me: Elliott Erwitt, Gordon Parks, Dawoud Bey, Raghubir Singh, Raghu Rai, Nikos Economopoulos, Lynsey Addario, Maggie Steber, Graciela Magnoni, and many, many others. In the process of doing this project, I learned more about Black women photo artists who I’d be remiss to not mention! Latoya Ruby Frazier, Carrie Mae Weems, Deborah Willis, Cherris May, Polly Irungu, and the Black Women Photographers collective! I hope people are inspired to achieve, to pursue their goals despite outside obstacles, and to be open to ask for support from those who’ve already overcome similar challenges. In turn, I hope those who’ve found success may pay it forward and help those trying to find their way. Others may feel inclined to join causes for justice, or for building and maintaining peace. Perhaps just learning to quiet the mind and maintain one’s own peace is enough. Inner peace leads to outer peace. The way in is the way out. I hope readers come away feeling less fearful of the ‘other’, to ignore the negative voice in the head that knows nothing, remembering that mutual respect, and simple conversations can offer insight and create fruitful and meaningful bonds of friendship and trust. In my many travels over the years (India, Japan, Nepal, Turkey, Mexico, Morocco, across Europe, and more) and having lived in Denmark for a year in my 20s, staying and meeting with locals in foreign lands is an immediate and delightful way to rewire the brain, step out of the usual comfort zones, and become more creative and accepting of new ideas. No matter how many books one reads on a subject, talking to an individual can often be just as, if not more worthwhile. During the release of my project in 2021, I also learned of the ‘Human Library Project’, which is exactly what we need – a way to remove judgement of others through safe discourse. I’ve also been involved with ‘Servas International’ for over 25 years, a nonprofit member organization that builds peace and cross-cultural understanding through day visits or overnight home stays. I’ve stayed with locals in various countries and have hosted many travelers from abroad, each time delightful in exchanging views, experiences, and learning about our shared humanity. I also hope, with respect to art itself, that people see that one needs no permission to take up space, to create and self-publish a book (or any artwork or project), and share it with the world. It is a matter of taking that first step for an idea that you know is aligned with your Truth, of persevering and finishing, and trusting that good will come of it. I never expected to have the reach that this book had, the beautiful inaugural exhibition and subsequent exhibits, the immense warm response and support. If you follow through with an idea born from the heart, the Universe will step in and lend a hand. I am ever grateful to have been privy to that. We have more in common than not, we are all connected at a deeper level – a fact forgotten and overlooked due to man-made/mind-made madness, causing needless suffering and tragedy. May we learn to see and feel the same Presence within each other. Ultimately there is no separation. In making this project, I came upon beautiful related quotes by Black women writers and poets, and the ones that touched me are: “We are each other’s harvest; we are each other’s business; we are each other’s magnitude and bond.” – Gwendolyn Brooks (1917-2000) “We are the ones we’ve been waiting for.” – June Jordan (1936-2002) We’re in this together. If we listen to that unwavering small true voice, we all have deep within, it will lead and guide us to good, for the benefit of all. At the end of the day, we are only here for each other. We are One. As we celebrate International Women’s Month, Parvathi Kumar’s work stands as a powerful tribute to the resilience, brilliance, and unwavering spirit of all Black women. The narrative and dialogue she creates with her subjects gives these remarkable women the recognition they deserve — not as distant figures, but as relatable, inspiring individuals who shape their communities and redefine what leadership looks like. Her book is more than a collection of portraits; it is a movement toward visibility, empowerment, and understanding. It reminds us that history is not only written in textbooks but in the lives of women who rise above adversity, uplift others, and create lasting change. In honoring these women, Parvathi invites us to expand our own perspectives, challenge assumptions, while recognizing the interconnectedness of our struggles and triumphs. This International Women’s Month, let us draw inspiration from these stories. Let us uplift the voices of women who have been historically overlooked, acknowledge their invaluable contributions, and commit to fostering a world where equality, respect, and representation are not aspirations, but realities. Through art, activism, and storytelling, we can continue to illuminate the path forward — one that is inclusive, just, and truly celebrates the power of women. VIEW PARVATHI'S PORTFOLIO Buy book >>> Instagram >>> Human Library Project >>> The 1619 Project >>> Servas International >>> read more interviews >>>

INTERVIEW INTERVIEW October 11, 2024 DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Photography by Justine Georget Interview by Melanie Meggs In the complex dynamics of urban environments, where the hustle of the city contrasts with moments of quiet introspection, Justine Georget's photography adeptly captures the subtleties of human experience. Since her transition from drawing to photography in 2020, Justine has dedicated herself to documenting the intricacies of city life using a Gx9 camera. Her photographic journey began in the streets of her home city, Lyon, and expanded to the urban landscapes of Korea during her travels. As her photos developed, Justine realized that her path as a street photographer had inevitably unfolded. Through her black-and-white imagery, she seeks to reveal the hidden layers beneath everyday scenes. Justine’s approach centers on the interplay between solitude and the passage of time. Her images often depict solitary figures and fragmented moments, offering a detailed examination of individual experiences within the expansive urban setting. By working in black and white, she strips away the distractions of color, allowing the raw emotions and internal struggles of her subjects to come to the forefront. This method not only simplifies the visual narrative but also amplifies the depth of human experience, transforming mundane scenes into powerful commentaries on personal and collective anguish. Justine’s photography explores the pervasive detachment and melancholy often found in city life. By framing the streets as a canvas, she reflects the silent struggles and unseen wounds of urban dwellers. Justine carefully captures these moments, revealing the subtle yet significant ways people navigate their internal and external realities. In this interview, we explore Justine Georget’s photographic practice, analyzing how her visual narratives capture the intricate dynamics of solitude, resilience, and the relentless passage of time. Her images offer a compelling insight into the often-hidden emotional landscapes of urban life, revealing the intersections of pleasure and pain. “In the noise of the cities, silences tell of the fragility of beings lost between toil and melancholy of the soul. Do you see their tears flowing imperceptibly into the wrinkles and the asphalt of smoking sidewalks? Are cities drinking away their torments? There are legion of them struggling in these tumults, exorcizing their pain, losing their vital breath in the face of so many inner experiences of dryness. They remain gray. They are witnesses of urban ages, of screaming metropolises. Here, one drowns without water, another writes without ink, another calls without a cry. A last one adds a little water to his wine or soup. Only their tears flow from invisible wounds. They call their lost shadows. Nothing escapes their eyes, so they repair their wounds with magic drops. Sadness is read to the infinity of a city that no longer mends silent agonies, so alone as before, they cry out with tears that dry up the cobblestones.” IN CONVERSATION WITH JUSTINE GEORGET THE PICTORIAL LIST: Hello Justine…thank you for sharing your poignant project with us. Welcome to THE LIST! Can you begin by detailing to our readers the transition from drawing to photography that you underwent in 2020? What prompted this shift, and how has it impacted your creative approach? JUSTINE GEORGET: I started drawing and painting classes at the age of 9 and continued until I was 20, alongside my university studies, with a research master’s degree in 19th-century funerary architecture. In 2020, my partner gave me a camera. From that moment on, I began walking around the neighborhood pretending to take photos. I had no technique and only vaguely knew what street photography was. However, my years of drawing classes and practice quickly allowed me to frame my shots, to discern, in the immediacy of a scene, a movement, an expression, all the beauty and grace that we stubbornly ignore. The moment the camera clicks is impromptu, disarming, and jarring. My brain shuts down, leaving only vital factors. My heart races, sounds are muffled, and heartbeats timed. I capture at the perfect moment the multitude of particularities and details of a scene to bring out its unity. Photography immerses me in the world, while being out of time, out of contingencies. TPL: Can you provide an overview of your project DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS and explain what it ultimately represents? What central themes and messages are you aiming to convey through your exploration of urban solitude and emotional struggle? JUSTINE: Hidden beneath the shimmering veneer of appearances and distractions of modern cities, there emerge atomized individuals, dominated by elemental emotions of despair and fatigue of living. Every presence is accompanied by a fundamental absence, a sort of void that absorbs bodies, engulfing energies. Each shot thus encapsulates something powerful, like a different sound amidst the deafening noise of the city, giving an emotionally moving and unsettling monophonic feeling. The point of reference is very local, emitted by the sole voice of a being, while using the vast urban space for the development of the subject. TPL: Your project suggests a universal experience of sadness within the city. How do you balance personal expression with broader social commentary in your work? JUSTINE: I do not seek to address these themes particularly; I am neither a journalist nor an activist, but social reality imposes itself on us, whether we like it or not. When I photographed this young girl who had been tear-gassed, her suffering became mine. My photography at that moment becomes a distorting mirror, almost expressionist, of my emotional state. The current event that caused this became secondary. There are so many reasons! Because human distress remains regardless of its face: loneliness, exclusion, unemployment, racism, loss of values. We witness the crushing of humanity, and what remains is this deep feeling of malaise. However, in my photo “She leaves him, he kills her,” it is perhaps the photo where I place social reality in the foreground, with femicide, because it is a subject that particularly touches me as a woman. Nevertheless, it is quite rare; I prefer to keep the social reality mysterious and highlight the human subject as an emotional source. TPL: Expanding from the previous question, what role does personal reflection play in your whole photography process, particularly in relation to your own connection to the subjects you photograph? How do you select the particular moments and figures that appear in your project? Are there specific criteria or instincts you rely on? JUSTINE: When I press the trigger, I make a spontaneous visual decision based on an impulse, a resonance; it is not a rational thought process. Nevertheless, what interests me, more than any outward and obvious expression, is the shadow of the individual, the part of the unconscious that remains unexplored and hidden even to the subject of the photograph. Everyone has a shadow. The question is what one does with their shadow. Do we remain possessed by it, or do we make something of it? I have made my shadow, and those of the subjects I photograph, a creative shadow, a shadow of life where I show drama and suffering. For this series, which is a journey along the human spine, the faces of the people I photograph are never truly foreign to me. They always reflect essential elements of myself: my personal discomfort, my doubts, and my own anxieties. However, they never fully express them. They merely touch upon them. Everything ultimately remains quite mysterious. TPL: Have you encountered any particular challenges in capturing the essence of solitude amidst the busy urban environment? How did you address them? JUSTINE: For this series, I position myself in what could be described as emotional photography, in the sense that I confront reality but with an approach focused on emotions. One does not emerge unscathed from this incessant pursuit of the climax, due to this mirror effect between the photographed and the photographer. My difficulties are the same as those encountered by my fellow street photographers, who discuss them in articles or interviews. For my part, I listen to music for about an hour before a session. This cuts me off from external stimuli and allows me to be more receptive when the time comes. After a session, I am very tired and speak little. I am digesting, like after a heavy meal, with the added physical fatigue. TPL: How does your approach to black-and-white photography contribute to the thematic elements of your projects? JUSTINE: Working solely in black and white allows me to detach from the surface of the world and simplify my perspective. The entanglement of colors, with its seductive and enchanting side, gives me the impression of not fully grasping the pith and marrow. With monochrome, I create a cocoon of purity to welcome and subtly imprint it on my photograph. TPL: What are some of the successes from the project, were there any surprises you embraced? If so, please share what they were. JUSTINE: My first success with this series is that the team at The Pictorial List allowed me to showcase it as a cohesive unit, and thanks to them and all the anonymous individuals who make it up, I can express myself. Thank you! TPL: What are your future plans for this project? Are there additional elements or themes you plan to explore or expand upon? JUSTINE: It’s a never-ending project. My projects are never finished or successful. I take very few photos, and I also select them very radically. The problem is frustration. I can’t connect what I feel internally to the result. I always find it lacking. And since photography is supposed to convey something to others, if I only convey a tenth of what I feel, my frustration is intense. So, my quest continues. TPL: Who or what are some of your major influences on your photography today? What impact have these influences made in the way you approach and create your work in photography? JUSTINE: I read a lot, and I am sure that the person I have become is partly the result of the books I have read. I also love painting immensely, and I think nothing has influenced my visual sense more than the paintings I have created or observed. Nevertheless, in the depths of my mind lie all sorts of influences —what I have seen, heard, experienced — a whole life of personal and cultural baggage. These things come together, organically, at the moment I press the trigger. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Do you have anything on your Wishlist? JUSTINE: I use the Panasonic Lumix GX9 combined with the 12-35mm F2.8. Mainly the 25 and 35 mm but sometimes also the 18 and 21 mm. This is the first camera I have held in my hands. On my Wishlist I would say the Ricoh GRIII. I struggle to relate to my peers who understand the intricacies of the technique. Besides, when I appreciate a beautiful photo, I don’t ask “how?”. In my work, I do not seek technical success, but the pith and marrow. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? JUSTINE: To take photos, I need to be in a place that stimulates me, where I will try to immerse myself. My first trip to Seoul transformed me, both as a photographer and as a human being. I photographed a world I had never known before, a world of vitality, intensity, and bubbling life, but also tragic with these elderly Koreans who turn to low-paying jobs to survive, due to the lack of an effective pension system. It is therefore a common sight to see them in the streets, between the glittering buildings, collecting cardboard and other waste to sell, or carrying heavy trays to deliver meals to stalls. Frantically, they light up the streets, day and night, as the machine roars and wears out their bodies already exhausted by this perpetual work. I have also created a series on this subject, titled “The Gray Fireflies of the Han River. TPL: When you are not out exploring the streets creating your photography, what else could we find Justine doing? JUSTINE: I develop dreams. I enjoy living as if I’m in a black-and-white movie. It lightens me up! Justine Georget’s work offers an exploration of urban solitude and the subtle, often unseen emotional landscapes of city life. With her camera, the streets become a stage where personal experiences and broader societal themes intersect. Justine’s thoughtful approach to black-and-white photography strips away the distractions of color, allowing her subjects’ inner worlds to take center stage. Her project, “Do You See My Silent Tears Drying Up the Streets?”, reflects her commitment to capturing the complexities of human resilience, melancholy, and isolation in a way that is both personal and universally resonant. As she continues her photographic journey, Justine’s work challenges us to pause, look closer, and reflect on the often-overlooked emotional realities that shape urban life. VIEW JUSTINE'S PORTFOLIO Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW March 26, 2021 TOMORROW'S A MYSTERY Photography by Neville Newman Interview by Melanie Meggs As an ex-British military serviceman who has lived in Canada for four decades, Neville Newman has been able to combine his knowledge of the world with his passion for photography. Since his days in the Navy and Army, Neville has travelled to many places and experienced a number of different cultures. His photographs are both captivating and inspiring, reflecting the diversity of the places he's visited. Neville doesn't like to limit himself to one type of photography and instead he likes to explore different settings and locations. In addition, he is an avid fan of footy and many of his digital photos are of the sport. In this interview, we’ll talk to Neville about his journey into photography, the inspiration he draws from different photographers and the amazing experiences he has had over the years. It’s a great opportunity to get an insight into Neville’s life and his passion for capturing life in vibrant colors. So join us as we explore Neville’s incredible story and gain some invaluable insight into the world of photography. “I just want to keep improving and making mistakes because that is the best way to learn. I try not to think of the future. As they say, tomorrow's a mystery.” IN CONVERSATION WITH NEVILLE NEWMAN THE PICTORIAL LIST: Neville please tell us about yourself. How did you become interested in photography? NEVILLE NEWMAN: I lived in London, England until I was thirteen. My family moved to the country and when I was fifteen I joined the Navy. I spent most of my time in the submarine service and after I paid off I spent three years in an army regiment. I have lived in Canada for the past 42 years. I bought my first camera in Aden when I was in the military. Subsequently in Sri Lanka I shot a roll of film at Kandy's Temple of the Tooth only to discover I had the lens cap on the whole time. From then on I tried to get better. TPL: Where do you find inspiration to photograph? NN: My digital photos are almost entirely of footy now. I need no more inspiration than to be at a game. For my black and white film work, there are some photographers that inspire me. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NN: Yes I do. Michael Willson and Quinn Rooney for AFL. Michael Kenna for black and white minimalism. Elliott Erwitt for his sheer wit and Martin Parr for his ability to capture quirkiness. Don McCullin for reasons too numerous to mention. And Trent Parke, an Australian treasure. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? NN: With footy I try to capture the intensity of the contest. This is best expressed by facial expressions. If I am shooting landscapes or water, I just try to show stillness in whatever form or method I can. And for the Mennonites, I try to convey their sense of faith and peace. TPL: Where is your most favourite place to go photograph? NN: Given my devotion to footy, I have to say any oval is my favourite. Other than that, I have a favourite spot on the shore of Lake Ontario that I like a lot, and the Mennonite/Amish community in Ontario constantly draws me. I just want to keep improving and making mistakes because that is the best way to learn. I try not to think of the future. TPL: What happens when you go out with your camera? What is your process? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? NN: When I am shooting a game I just try to be as inconspicuous as possible. There are times when the team wins that I know they will be receptive to a group shot, and others not so much. When I get to the ground, I take some time to set up. Make sure all my settings are right. Take a few test shots and make any minor adjustments. The Mennonites will rarely, if ever, knowingly pose for an image. I have to respect that and try to photograph them without seeming sneaky. 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? NN: I shoot digital with a Canon 7D Mkii on a monopod and a 300mm f2.8 lens. I also use a handheld 7D body with a 70-200mm F2.8 lens. This combination allows me to get what I am after for sports. For black and white film I use a variety of cameras, mostly Medium Format, but sometimes 35mm. Of late I have favoured my Mamiya 6 Medium format with 50 and 75mm lenses together with ten stop ND and red filters. I find this is strong for getting the long exposure and dramatic skies that I like. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? NN: I just want to keep improving and making mistakes because that is the best way to learn. I try not to think of the future. As they say, tomorrow's a mystery. Let's just see what happens. If, in five years I am still breathing and photographing...I'll be satisfied. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? NN: There is a Mennonite community about an hour and a half from where I live. Periodically I go there and photograph them. It is not straightforward because they are opposed to posing for photographs and so the shots I take, of necessity, have to be candid. Spending time in that area is therapeutic because it really is like going back in time. TPL: When I am not out photographing, I (like to)… NN: Work outside following my wife's orders. Walking our little dog. Reading. Neville Newman is a photographer whose work is both captivating and inspiring. His ability to capture the beauty of his travels and sports has enabled him to share his unique perspective of the world. We invite everyone to explore Neville's work and be transported to his diverse and wondrous journeys. VIEW NEVILLE'S PORTFOLIO Read Wildcats Winning Women >>> Website >>> Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW February 26, 2021 REPRESENTING THE PEOPLE Photography by Camille J. Wheeler Interview by Karin Svadlenak Gomez Camille J. Wheeler is originally from farm country in the South Plains of Texas. It was her mother, a teacher in journalism and English, who taught her the tools of writing and editing. It was only later, after having been a reporter, feature writer and page designer, among other editorial tasks in the newspaper industry, that Camille fell in love with photography. Now living in Austin, Texas, Camille started traversing the city with a camera, finding her path forward as a photojournalist, often documenting the homeless, but also more generally life in the streets. Her photography is always respectful, and she engages directly with her photographic subjects, often creating long term relationships and documenting the people she meets over time. “My path to the homeless community began by observing the segregated populations in Austin — people who are segregated by disability/non-disability, people who are segregated by race, and people who are segregated by economic and housing status. The highest compliment I have received from members of the homeless community is that I represent the people.” IN CONVERSATION WITH CAMILLE J. WHEELER THE PICTORIAL LIST: Camille please tell us about yourself. How did you become interested in photography and in photojournalism? CAMILLE J. WHEELER: I was born in Lubbock, on the South Plains of Texas, where I grew up in a farming and ranching family. My mother was my high school English and journalism teacher at the tiny country school I attended, and she gave me the tools I needed for my future as a writer and an editor. I worked for 21 years in the newspaper industry, including with the Austin American-Statesman, but I never picked up a camera on the job. I wore many hats, including that of reporter, feature writer, page designer, and assigning/project editor, and I spent countless hours in the photo lab looking through a loop and selecting images for stories. I loved hanging out with photographers — I just didn’t know that I was one myself. I have lived in Austin for nearly three decades now. My background here also includes an associate editor tenure with a magazine, where I continued to build relationships with photographers and occasionally held a camera myself. In April 2014, I borrowed a camera to document a mixed-ability dance performance in downtown Austin in which my spouse, Donna, participated. It was a thrilling experience, and on that day, I realized I was a photographer. I bought my own camera and started traversing the city, finding my path forward as a photojournalist and connecting the most with those who experience discrimination and who don’t fit into the conventional norms of society. TPL: You report a lot about the homeless community in Austin. How did this come about? What drives you? CJW: My path to the homeless community began by observing the segregated populations in Austin — people who are segregated by disability/non-disability, people who are segregated by race, and people who are segregated by economic and housing status. In 2014, I started photographing the world of mixed-ability dance — improvisational work that empowers people of all abilities to embrace dancing in their own unique way. I also began documenting Black Lives Matter protests and exploring the historic African-American and Latino neighborhoods of East Austin. Each new experience put me a step closer to the heart of the homeless population, in downtown Austin. In February 2016, I took my first portraits of people in this community. I began interviewing and reporting, gathering threads of stories. Conversations came without filters. I found that incredibly refreshing. When people realized I meant what I said, that I wanted to sit and listen, they opened up and started talking. So what drives me, even more so now, is this unbridled desire to tell the stories of the beautiful and complicated souls I meet on the streets. And doing so with the combined tools of my camera, notepad, and voice recorder? That’s pure magic. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CJW: I draw inspiration from so many photographers and artists. To name two, I greatly admire portrait photographer Robert Bergman, who shoots with available light, and Khalik Allah, a New York–based photographer and filmmaker who shoots film at night in Harlem, also utilizing the light already present. My favorite artist is James Turrell: a revolutionary light installation artist whose work is light, interacting with individuals in precisely made spaces that isolate the light and allow people to form relationships with it as a physical presence. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? CJW: I normally am shy. But when I gather my photo gear and head downtown, I become transformed. People on Sixth Street tell me I constantly smile. That I exude good energy. I sometimes find this hard to believe, knowing that I can brood and circle the drain with the best of them, but I enjoy wonderful interactions on almost every outing. Because I smile so much, people smile back. Because I’ve gotten to know so many people, I often find myself surrounded by folks who just want to talk and catch up. From the start, I vowed to document people with dignity and respect - to avoid stealth shooting. To be transparent. I think people know this about me and respect me. It’s funny. Every so often, I feel the urge to honor classic street photography - to take candid shots in the tradition of such greats as Vivian Maier, Helen Levitt, and Garry Winogrand. But almost every time I try, I fail. I’ll see a fascinating character on the other side of the street and say dang it, I have to go meet this person. And so it goes. The highest compliment I have received from members of the homeless community is that I represent the people. For sure, I have had negative reactions, and I have been scared on a few occasions. If someone gets upset with me, I try to quickly read the situation. Often, that means simply walking away, which I have learned is a form of respect. People have a right to their privacy and their space. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? CJW: I rarely have a concept of what I want to shoot other than I want to capture someone’s essence. My photos are determined by my interactions, which is an unpredictable strategy, to say the least. But for me, it works. When I meet someone, or reconnect with someone, the process starts naturally with conversation. Then, as we grow comfortable with each other, and with permission, I start taking photos, sometimes moving in so close that the lens is maybe one or two inches from the person’s eyes. This requires great trust, from both of us. Conversations came without filters. I found that incredibly refreshing. When people realized I meant what I said, that I wanted to sit and listen, they opened up and started talking. 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? CJW: For about two years now, I’ve shot with a Fuji X-T3 and a 23mm f1.4 lens, which seems to be near perfect for street photography. It’s a super sharp lens that’s just wide enough to capture extra background and context. I used to shoot exclusively with a Sony 50mm lens, and I’m thinking of adding the Fuji equivalent to my bag. It’s how I learned to shoot street portraits — it forced me to get physically close to people. I occasionally shoot with a zoom lens, but I prefer fixed lenses for portrait work. TPL: What are some of your goals as a photographer/photojournalist? Where do you hope to see yourself in five years? CJW: In five years, I’d dearly love to be in the middle of a book project about the messy and authentic relationships I have built with people on the streets. Specifically, I am inspired by the work of the late documentary photographer Mary Ellen Mark. She returned again and again to the same subjects, establishing trust and building intimate relationships with homeless youth in a project that ultimately produced Streetwise, a 1984 documentary film and a 1988 book by the same name. In that similar vein, I want to chronicle people as I have known them through the years, documenting the chapters of their lives. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CJW: Upon invitation, I recently submitted hundreds of my images of the homeless population to the Austin History Center for the creation of a photographs catalog. I am honored to be working with the AHC. It is deeply important to me to record the histories and the lives of those experiencing homelessness in Austin. I am excited about adding to this catalog and involving the members of the homeless community in the process. TPL: When I am not out photographing, I (like to)… CJW: I love all things outdoors - hiking, biking, and planning my next getaway to the Big Bend region in far West Texas. I love wildlife and nature, and that, of course, involves photography! I also love music and indie films and poring over the collection of art and photography books that Donna and I continue to stack up to impossibly tall heights in our small home. Camille J. Wheeler has used her passion for photography as a way to document and share the stories of the people in her community. Through her photos, Camille has shown us the power of storytelling and respect in photojournalism. To see more of Camille's important work and join her in advocating for social justice, visit her website today. VIEW CAMILLE'S PORTFOLIO Camille's website >>> Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW March 15, 2021 THE RAW AND GRIT OF HAWAII Photography by Tim Huynh Interview by Melanie Meggs From the vibrant streets of Hawaii to the gritty cityscapes of New York City, Tim Huynh has become an inspirational figure for street photographers across the globe. His eye-catching images of the streets have captured the attention of many, leading to his directorial debut with the documentary FILL THE FRAME. As an ardent street photographer himself, Tim has worked tirelessly to showcase the raw and honest beauty of city life through his lens. Inspired by Vivian Maier's captivating photographs, Tim set out on a journey to explore the streets and document the lives of its inhabitants. Having traveled from Hawaii to Chicago and ultimately arriving in New York, Tim has had an incredible journey that has shaped his work and his outlook on life. From short documentaries to feature films, Tim's story shows how determination and passion can lead to great successes. Today we take a look at the story of Tim Huynh, a passionate street photographer and talented filmmaker, as he shares with us his awe-inspiring journey. Through his words, we will gain insight into both his life and his work on FILL THE FRAME, which follows eight contemporary New York City street photographers as they strive to tell their stories through their art. Join us as we travel with Tim and discover how he found success in photography and film. “Because I shoot mainly in Honolulu, I wanted to showcase a different side that not many people see. Hawaii isn’t all waves, palm trees, and beach bodies. The real side of Hawaii sometimes isn’t all that pretty. Over the years, times have gotten hard, there’s more homeless on the street and folks just living very modest lifestyles. These are the stories I capture in my photos.” IN CONVERSATION WITH TIM HUYNH THE PICTORIAL LIST: Tim please tell us about yourself. How did you become interested in photography and filmmaking? TIM HUYNH: I’m a first generation Vietnamese, born and raised in Honolulu, Hawaii and currently still residing here. I didn’t grow up surfing waves like most of my friends, or play youth sports. I spent most of my time taking extra math lessons, playing out on the streets in my neighborhood of Kapahulu, and watching professional wrestling. Pro-wrestling such as the WWE (then WWF), was a big part of my childhood, I always loved storytelling, drama, capturing the attention of the audience. This and street photography are probably the two topics I know really well or at least am very passionate about. Interesting enough both are very niche in their industries. In grade school I was the class clown, I enjoyed making others laugh even if it meant making an ass out of myself. I still do it to this day. I was never the smartest kid or the hardest working kid. And I was nowhere near being naturally talented. However, if I discover something of interest and I set a goal, I go full attack mode. I’m not afraid of failure and I’m not afraid of shame. I embrace those two things as it pushes me to never experience those feelings ever. I got into filmography as a senior in high school when I took a video making class for my elective. I had plans to go to college at the University of Hawaii but at the time had no idea what to major in. Luckily, UH had just launched their film school and their program got approved by the time I started. While studying in the Academy of Creative Media at UH, I took a documentary class that really positioned me on this journey. I’ve always loved documentaries. I like being presented with facts and finding out the truth about a subject. But also I hate to follow the herd, so while the majority of my peers gravitated towards fiction cinema, I decided to go rogue. It turned out to be the right direction as I had produced a short documentary on my handicap uncle and it won Best Short Documentary at the school’s year end awards program. After graduation I did a few other short docs but it soon became a burning dream to produce a feature documentary. In 2010, I was in Chicago interning at a small production studio and one of the fellow interns was telling me about Vivian Maier. He showed me her website and told me the whole back story on how his friend John Maloof bought these negatives from an auction and started scanning them and uploading the images on the internet. Her images had inspired me, it was so raw and full of life. I thought to myself, if I’m in Chicago where many of these images were produced, I can do that too. I started walking around Rogers Park and Michigan Avenue just snapping away. What resulted was a bunch of out of focus images, mainly of the homeless. Already I had a greater appreciation for Vivian Maier and what she was able to capture. From that week of shooting I had a greater appreciation for her photographs and what she was able to capture. She made it look so simple and easy, but of course it wasn’t. TPL: How did the idea for the documentary FILL THE FRAME come about? What was the process behind making the movie and finding the photographers? TH: I was very determined to make a full-length documentary. Usually in documentary film, you need to have some sort of connection with the subject matter. As my interest in street photography continued to grow, I realized this was it! There weren't many other films out there (other than the most notable “Everybody Street”), yet there are so many people around the world that pursue this form of photography. I let the idea brew for a couple years, just to ensure that I would still feel passionate about it. After a while I decided instead of daydreaming about this documentary, I needed to put my ideas into action. My original idea was to highlight a street photographer in different parts of the world but knew realistically that would not be possible with a limited budget. So I just narrowed it down to New York City. The location has such a rich history and contained a mix of seasoned and new street shooters. I then contacted photographers that I was already following on Instagram and sent them a questionnaire asking them to detail a little more about their own personal back story. Many didn’t respond to my emails, others I did not find too interesting, and few did not want to be involved. Can you blame them? They must have been thinking who’s this kid from Hawaii doing a documentary on New York City street photographers. I’m very happy with the eight photographers casted in the film. All are excellent photographers with amazing backstories. To me these backstories help bring their photography to life. Taking nice pictures isn't enough, there was more of the story to unveil for these photographers. So I was up for the challenge. TPL: What were the challenges in making the film? In the end, what did you learn and take away from this experience? Would you do anything different next time? TH: Of course the biggest challenge was not being a New York native. When I went to film, it was actually my first time visiting the city. There was a lot of research to be done, and filming continued even after I returned home to Hawaii. Initially, I did not want to shoot too many Q&As with the cast on the streets. I originally thought it would feel more like a YouTube video, but looking back, I would have liked to add more footage of the interview while on the street. TPL: Where do you find your inspiration? TH: People in my life inspire me. My mom inspires me. My wife and kids inspire me. Paul Kessel, who in his 80s and motivated to capture his next best shot, inspires me. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? TH: Luckily, I’ve never experienced any serious confrontation. Most of the time I’ll ignore or pretend I don’t speak English. I guess that’s the benefit of living in a tourist trap. I’m not afraid of failure and I’m not afraid of shame. I embrace those two things as it pushes me to never experience those feelings ever. 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? TH: Recently I’ve been using the Ricoh GR III street edition camera. You can watch and subscribe to my light hearted videos on my YouTube channel - www.youtube.com/wordonthestreetphoto Prior to the GR III, I was using Olympus EM5 Mark ii for six years. It’s a small discreet camera, which makes it easy to take photos on the go. I have lots of memories with that one. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? TH: My favorite street photographer is probably Vivian Maier because she was my discovery into street photography. She started me out on this street photography journey. 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? Where do you hope to see yourself in five years? TH: Currently, I’m just trying my best to promote FILL THE FRAME. I feel like there is a larger audience who has not yet seen the film. I also am looking to get back into producing YouTube content. Without a professional publicist, I’m personally reaching out to magazines, bloggers, podcasts and doing my own PR to help get the word out on the film. I think there’s much to enjoy when watching Fill The Frame. It’s not just a film about street photography but rather a film about the hope and dreams of the people in the film and how the past connects to the present and future. This film is not just for avid street photographers or fans but it focuses on a more human element. Anyone who has been bullied, who had a career change, or experiencing the unknowns after retirement can resonate with the film. In five years, I see myself producing another FILL THE FRAME in another city. I need to get on the hype train while there’s still room. TPL: When I am not out photographing, I (like to)… TH: Spend time with my family! That’s what keeps me occupied these days. Tim Huynh's story is a heart-warming and inspiring tale of how determination and passion can lead to great successes. His journey from Hawaii to New York City has taught him about the raw beauty of the streets and its inhabitants, and his love for photography and film have given us an amazing documentary. VIEW TIM'S PORTFOLIO Read FILL THE FRAME >>> Fill the Frame Video Trailer >>> Tim's YouTube Channel >>> read more interviews >>>

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

INTERVIEW INTERVIEW January 28, 2022 FINDING THE MAGIC OF ISTANBUL Photography by Emir Sevim Interview by Melanie Meggs Istanbul is a place like no other, and it is through the eyes of its people that we see its beauty. One of those people is Emir Sevim, an Istanbul native and street photographer whose passion for his city shines through his work. Emir was born and raised in Istanbul, and it was during his university studies that he realized his love for photography. After taking a class in photography, he found himself inspired to explore the streets of Istanbul, and to capture its beauty in ways that only a local could see. Through his lens, he has been able to find the unique details and comparisons that come together to create the magic of Istanbul. In his six years as a street photographer, Emir has developed a unique style of photography that is infused with the energy and rhythm of his city. He captures the essence of Istanbul, creating images full of vibrancy and movement. As any native to a city knows, there is something special about being born in a place – something that cannot be captured by a casual observer. It is in this spirit that Emir captures his city, finding beauty and purpose in its inhabitants and its streets. Emir finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks Emir’s World. His images are a testament to its beauty and its brilliance, a reminder of the unique beat that rocks its streets. “Street photography is my passion. When I go out and take photos, I forget all my other troubles and surrender myself to the flow of the street, to the spirit of the street. Every photograph I take carries pieces of what I watch, read, people's feelings, movements, the rhythm, texture and spirit of the street. I am very lucky to live in Istanbul and take street photos. I hadn't noticed that Istanbul is such a magical city before I took my first photo. When I started to taking pictures, it was while I was getting lost in the streets, I realised how perfect this city really is.” IN CONVERSATION WITH EMIR SEVIM THE PICTORIAL LIST: Emir please tell us about yourself. How did you become interested in photography? EMIR SEVIM: I was born, grew up and live in Istanbul. My interest in photography started during my university years. While I was studying Sinem-TV department in 2011, we had a photography class. I took a camera and started taking photos. It was 5-6 years ago that I started taking street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? ES: I don't make any plans while taking photos. In my understanding of street photography, photography should be natural. When I take a photo, I capture that moment and enjoy it. TPL: What are some tips or advice you would give yourself if you started street photography all over again? ES: I would have liked to have started my photography by taking street photos earlier on. I'm not too late, but sooner would be have been nice. Frankly, I wouldn't give any advice because I'm constantly taking photos and working hard on this. TPL: Do you have any favourite artists and photographers? ES: Lee Friedlander, Henri Cartier-Bresson, Alex Webb, Vivian Maier, Nikos Economopoulos, Josef Koudelka, Raymond Depardon, Bruce Davidson, Joel Meyerowitz. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? ES: I would choose Alex Webb. Because he has an amazing street photography book about my favorite photographer and the city I live in, Istanbul. It would be perfect to take photos with him on the streets of Istanbul. When I take a photo, I capture that moment and enjoy it. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? ES: I love the equipment I use. Small, practical and fast. It makes my job on the street a lot easier and gives very good results. I don't think you need huge equipment. It is the photographer who takes the photo, not the camera. My equipment is the Fujifilm XT30 18mm f2. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? ES: As a photographer, of course, my goals are to produce something permanent. Making exhibitions, publishing books. I think the best thing a photographer can do is make a photo book. I am working every day to achieve these goals in the coming years. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? ES: There are several photo series I am currently working on. Those who are curious can see them on my website. I have an idea to make an exhibition or a book about these series in the future. TPL: "When I am not out photographing, I (like to)… ES: I like spending time with my family, traveling, watching movies, reading books." The story of Emir Sevim is a testament to the beauty and magic of Istanbul. Through his work, he has been able to capture the unique details and energy that make it so special. His photographs are a reminder that beauty is found in the everyday, and that there are people who love their city deeply and can share its unique beat with the world. Let’s all join Emir in his quest to capture the magic of our cities. VIEW EMIR'S PORTFOLIO Website >>> Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW March 23, 2022 SHORT MOMENTS Photography by Asli Gonen Interview by Melanie Meggs Asli Gonen was always drawn to art, and when the digital age dawned she noticed a new way to express her creativity - photography. She signed up for various photography websites, eagerly learning about the art of street photography, and soon she decided to take the plunge and purchase a camera of her own. Now, when Asli is out and about her small hometown in Central Anatolia, Turkey, she captures those fleeting moments of beauty that often go unnoticed in our hurried, everyday lives. Asli Gonen is a photographer who knows how to appreciate the little things, and her photographs tell stories of joy and contentment. “I like to be on the street all the time, day and night, summer and winter, and be prepared for surprises. In fact, I like to come home tired, sometimes empty-handed, not knowing what to expect. In order not to miss a moment, I always carry my machine in my bag, meanwhile I can say that I have gained a lot of arm muscle. Here, too, I wanted to show those brief moments that caught my attention in the streets I encountered at various times.” IN CONVERSATION WITH ASLI GONEN THE PICTORIAL LIST: Asli, how did you become interested in photography? ASLI GONEN: It started when I discovered a photography site on the Internet. I subscribed to the site first and just watched for a long time. Then I bought a small compact machine saying why not. TPL: How have the streets and culture you capture influence your photography? How have your captures changed the way you see Turkey? AG: Actually, I can say that I am a bit unlucky because I live in a small city, but still, Eskişehir is a city that offers me ample opportunities due to the high population of young people. It is also a chance for me to have to travel sometimes due to my job. I can also document different lives and cultures. As a result, the streets are always interesting wherever we are. TPL: What are some tips or advice you would give yourself if you started photography all over again? AG: If I had my current mind, I would definitely take a picture of a moment without thinking, I would come back later, I would not say that I will take it later, because the same place, the same light, in short, the current conditions may not be in place, I made this mistake a lot in the beginning. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. AG: Of course, sometimes I feel like I'm in a vicious circle, repeating myself and losing my motivation. But every time I take my machine in my hand and go out to the street, I feel happy as if I have just started, that is enough for me. TPL: Do you have any favourite artists? AG: Photographers such as Ara Güler, Trent Parke, Lee Friedlander, Vivian Maier, Saul Leiter, Elliott Erwitt have been my inspiration. When I go out, I just go wherever the light takes me. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? AG: Definitely would be Saul Leiter. Because as Saul Leiter said, “I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.” By adopting this saying as my philosophy, I try to discover those short moments and beauties in our daily rush. TPL: When you are out shooting - how much of it is instinctual versus planned? AG: When I go out, I just go wherever the light takes me. 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? AG: I am using Fujifilm X-M1. Since it is a mirrorless camera, I can shoot lighter and without disturbing people. My lens is 16-50 mm, it does my job very comfortably. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? AG: Photography for me is a way of expressing myself and a hobby I love. I don't have big plans and ambitions in this regard, to be honest, but who wouldn't want a photo book, or an exhibition. TPL: You are the founding member of @womeninstreetturkey. Tell us about the collective and why you started the project. What do you want the collective to achieve? AG: We, the five members who are from different walks of life and from different cities with different backgrounds, established the @womeninstreetturkey. We think women should be more visible in our country and we personally try to be examples of women individuals who can exist in different fields of life. We try to promote examples of talented women street photographers from Turkey and the world. In fact, we have all been involved with photography for many years, but with the birth of contemporary street photography and its spread in Turkey, the increasing interest has affected us as well, but the number of women taking street photos in this sense is quite low in Turkey. We brought this idea to life in early 2021. We decided to set up @womeninstreetturkey. Although we live in different cities of Turkey, we plan to come together after the disappearance of the pandemic and organize photography trips and even workshops. Currently, our hands are tied, but we continue to photograph the places, streets and people we live in whenever we can. Even in the days of curfew, we try to create various opportunities for ourselves by using light, shadow and reflection even in our homes... Photography is always with us, wherever we are... TPL: "When I am not out photographing, I (like to)… AG: I like to spend time with my family and cook." Photographing on the streets of Turkey, Asli documents those ordinary simple moments that make her feel happy within herself. Thank you for sharing your photography with us Asli! VIEW ASLI'S PORTFOLIO Instagram >>> Women In Street Turkey Collective read more interviews >>>

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