So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. JELISA PETERSON So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. LOCATION Texas UNITED STATES CAMERA/S Canon Eos Rebel and Canon Eos 50D WEBSITE https://jelisapeterson.com/ @JELISAPETERSON FEATURES // Into Africa

PICTORIAL STORY ACTIVISTS FOR CHANGE A MODERN TRIBE OF ENGLAND May 14, 2021 PICTORIAL STORY Photography and story by David Gilbert Wright SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link During the 20th Century, Edward Steichen, the great American photographer embarked on his celebration of Humanity - The Family of Man. Once complete, it became his Magnus Opus and the exhibition travelled the world. It inspired me to begin to consider how people are both very different but at the same time very similar. Now, in the second decade of the twenty first century, it started to become apparent that one thing we all have in common is the need to belong to groups. Societies are made up of many groups and sub-groups and some people belong to more than one. The reasons for membership include age, sexuality, employment, religion, race, political views, cultural interests, hobbies, pastimes to name a few. Further reading brought me to the realisation that belonging to a group can be hugely beneficial. Social connections are what enable us to feel safe and therefore healthy and happy. There are studies that have shown that membership of groups can extend your life, but I am not going to go into that here. What I do believe is that such membership gets people out, active and socializing. It enables them to pursue creative enterprises and provides a purpose to life. And so, I embarked on my own version of Steichen’s idea, and I have called it Modern Tribes of England. The criterion for including a group in the project is simple. They are engaged in a collective enterprise that they freely do and believe is important in their lives. The other important criterion is that anyone can become a member of the group, and they are welcomed freely by existing members. The groups that form this project so far include Morris, Re-Enactors, Urban Agriculturalists, Pagans, Railway Enthusiasts and Climate-Change Activists. I spent a year documenting the activities of the Climate-Change Activists in London during 2019 and this article is about them. The significant demographic of this ‘tribe’ is one of gender. Everywhere I went in London during that year of protest, I encountered the same thing. The majority of Climate-Change Activists out on the streets were white, ‘middle class’ women and teenage girls aged between 14 to 35 years old. Of course, there was a smattering of all the other age groups, but they were so much in the minority that it became noticeable. As I got to know the people it became apparent to me that there were no barriers to joining. Everyone was welcome, whatever their age, creed or colour. The only thing they needed to belong was the shared concern for the way the resources were being used and consumed, and the effects humanity was having on both the environment and the planet. Inclusiveness was high on the agenda, and it was interesting to note how people with visual disabilities involved themselves. Many activist groups had a disability section that met to discuss and organize how they would go about their protests. During the ‘Spring Uprising’, I was present at a human ‘barricade’ in The Strand. Eight protestors glued themselves together in a line and lay down across the road. It took the police technicians nearly three hours to free them from each other and then remove and arrest them one at a time. Once all the protestors had been removed and before the police got the traffic moving again, three disabled protestors, including one blind person, slipped behind them and laid down on the road. All the cameras of the world’s Media were suddenly on the scene to watch how the police dealt with this one! The thing that I found intriguing about the overall demographics of the Climate-Change Activist tribe was the almost complete absence of black and Asian representation in this group. Why was this? I lived through the 1960s and 1970s and one of the predominant groups of those decades was the Hippy subculture. The Flower-Power movement from that period became characterised by particular attitudes and behaviours. Many members of the mainstream culture, the Government and the Media did not really take hippies seriously. The exact opposite seemed to have taken place fifty years on. Governments all around the world were forced to take notice as influential people such as David Attenborough and Greta Thunberg led the way in galvanising the populace. They normalised concern for the planet and Politicians found that to remain in favour required that they aligned themselves with these figureheads. Economic changes that imposed severe restrictions on the population started to become ‘acceptable’. Things like paying for plastic bags, raising the price of fuel, and introducing high charges on vehicles entering cities. By the summer of 2019, the Climate-Change Activists had come of age. Their cause was being integrated into the Economics of Government and they were being taken seriously. So how did the Climate-Change Activists achieve this goal? They are very similar to other modern English ‘tribes’ because their members are drawn from all walks of life. It is also a group that seeks to contribute to society something it believes to be a good, just as Morris dancers contribute culturally and Urban Agriculturalists endeavor to make towns and cities greener. However, Climate-Change Activists differed in that through their actions, they hoped to change behaviour, policy and ultimately, economics. The English have a long history of standing up against injustice and voicing their beliefs. In many cases, their actions have resulted in serious, personal hardship, loss and even death. The Climate-Change Activists were certainly very similar in these respects. But they differed from many previous pressure groups who had taken to the streets to protest. Their cause was one that required austerity and reduced consumption in order to limit human impact on the environment. The Climate-Change Activists’ main mode of protest involved adopting Gandhi’s method of passive resistance. They attempted to do so through non-violent protest and civil disobedience. They used their bodies as means of obstruction. This may be by lying down (collectively called a ‘Die-in’); living in trees; chaining themselves to railings and gluing themselves to roads, trains, doors and each other. The effect of these strategies was immediate. Trains were held up, roads were blocked in London causing gridlocks, bridges across the Thames were made impassable. Getting around in any other way than on foot or a bicycle became laborious and time-consuming. The aim of a particular faction within the ‘tribe’ was to get arrested for criminal damage so they could draw attention to what they described as the much greater criminal damage mankind was doing to the environment. I remember passing by a tent pitched in a road adjacent to Westminster Bridge during the ‘Autumn Rebellion’. There were about twenty young protestors sitting on the ground being instructed by two of the organizers on what to do when they got arrested. Useful things like the telephone numbers for the solicitors that would go along to the police station to help and advise on how to behave just prior to and during the arrest. The Media were regularly reporting 200-300 arrests every day during the ‘Spring Uprising’ so the organizers must have considered it to have been a highly successful protest. In the end, court injunctions had to be taken out rendering it unlawful to cause obstructions in the way that they had been doing. Protestors were limited to certain areas and only for certain time periods. The inconvenience to road users diminished but by then the cause had taken hold. World leaders and Government Summits were forced to put the climate on their agendas. Climate-Change Activists are also different from other ‘tribes’ because they are connected globally to ‘tribes’ in other countries who are pursuing the same agenda for change. They communicate using social media, which enables rapid dissemination of information and provides support for orchestrated action. It is interesting to note how the protests evolved during 2019. They became increasingly more visual. The Red Rebel Brigade devised by Doug Francisco and Justine Squire led the way with their slow-motion mime. They symbolized the common blood we share with all species on the planet. They opened the doors for all kinds of theatrical displays. I attended a protest against Shipping that included an orchestra playing while a group of ‘actors’ moved deck chairs around on the pavement. They were re-enacting the sinking of the Titanic and making a comment that Governments are not dealing with the seriousness of the destruction of the planet, they are just trying to stave off the inevitable with superficial changes in the Law and the Economy. On another occasion, a group of over fifty protestors made up of adults and children re-enacted the spraying of the flowerbeds in Hackney with weed killer. A couple of children dressed up as the sprays moved through the group and then suddenly on the signal, everyone ‘fell down’ on the steps of the town hall to create a collective ‘Die-In’. As the weeks passed, the protests got more and more flamboyant. They hired horse-drawn hearses with coffins to head up a protest highlighting how dangerous it was to use a bicycle in London. The event was called ‘The Requiem for the Unknown Cyclist’. Coffins, funeral cars, death and rivers of ‘blood’ became major features in the various campaigns throughout 2019. They were supposed to be stark reminders of the destruction and eventual death that we were collectively causing to the planet Earth. To conclude, this ‘tribe’ stood apart from all the other ones I have documented. They are the most politically motivated and the most organized one around the globe. Will they have the longevity of other tribes like Morris. Only time will tell. But for now, they are certainly making their mark and growing rapidly in membership. © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright David Gilbert Wright is a British documentary photographer who specialises in black and white analogue photography. He is interested in showing traditions, societal change, and the realities of historic and current affairs. He feels that as a photographer one may participate in an event as an important recorder of what is happening, and one can experience the memory of it over and over again whenever one looks at the photographs. view David's portfolio Read an interview with David >>> Read "DISAPPEARING IRELAND" by David >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape.

Born and raised in Chennai, South India, I currently live with my family in Switzerland – our third adopted home, after Singapore and Germany. My career started in Bangalore in 1998 in business development for India’s first internet-based product company. It then transitioned to marketing and communication with the onset of motherhood. I have worked in India, Singapore, and Germany for global brands as well as local brands. I have an aptitude for analytics and creativity. My strong Asian roots, exposure to European culture, and extensive globetrotting give me a broad yet unique worldview. My website is a repository of my personal stories, mostly from globetrotting with my family. It’s a place to start a conversation using any of the stories that catch your fancy. UMA MUTHURAAMAN Born and raised in Chennai, South India, I currently live with my family in Switzerland – our third adopted home, after Singapore and Germany. My career started in Bangalore in 1998 in business development for India’s first internet-based product company. It then transitioned to marketing and communication with the onset of motherhood. I have worked in India, Singapore, and Germany for global brands as well as local brands. I have an aptitude for analytics and creativity. My strong Asian roots, exposure to European culture, and extensive globetrotting give me a broad yet unique worldview. My website is a repository of my personal stories, mostly from globetrotting with my family. It’s a place to start a conversation using any of the stories that catch your fancy. LOCATION Zurich SWITZERLAND CAMERA/S Sony Alpha 7ARV WEBSITE http://www.umamuthuraaman.com @UMA_MUTHURAAMAN FEATURES // Where the Waves Meet the Ocean

The subject of this work is not the objects photographed, but rather the appearance of those objects. Assessing objects in terms of tones and shapes allowed for the divorce of those objects from their figurative meanings and places in the world. This, as a result, enabled the exploration of the line between representation and abstraction. JAKE DYLAN The subject of this work is not the objects photographed, but rather the appearance of those objects. Assessing objects in terms of tones and shapes allowed for the divorce of those objects from their figurative meanings and places in the world. This, as a result, enabled the exploration of the line between representation and abstraction. LOCATION New York USA CAMERA/S WEBSITE https://jakedylxn.com/ FEATURES // Subconscious Patterns

Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When I first set out as a photographer, I realised that although a photograph should ‘speak’ for itself, a story always brought it to life. Now, here I am forty years later, writing about my photographs and about photography as one of the most powerful ways of communicating. DAVID GILBERT WRIGHT Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When I first set out as a photographer, I realised that although a photograph should ‘speak’ for itself, a story always brought it to life. Now, here I am forty years later, writing about my photographs and about photography as one of the most powerful ways of communicating. LOCATION UNITED KINGDOM CAMERA/S Pentax KX, Nikon F2 WEBSITE http://www.davidwright.photography @DAVIDGILBERTWRIGHT FEATURES // Disappearing Ireland Activists For Change The Storyteller The Appleby Horse Fair

Eric M. Renard is a Los Angeles based Photographer. Born in New York, he attended school in Riverdale, New York. Eric spent his summers in Maine, where he was first exposed to photography and learned his way around a dark room. Eric’s passion for photography was once again ignited at Tufts University in Boston, where he studied under Siegfried Halus. After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings. Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people. Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards. ERIC RENARD Eric M. Renard is a Los Angeles based Photographer. Born in New York, he attended school in Riverdale, New York. Eric spent his summers in Maine, where he was first exposed to photography and learned his way around a dark room. Eric’s passion for photography was once again ignited at Tufts University in Boston, where he studied under Siegfried Halus. After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings. Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people. Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards. LOCATION USA CAMERA/S Canon, iPhone WEBSITE http://www.ericrenardphotography.com @RENARD_PHOTO @ERICRENARDPHOTOGRAPHY FEATURES // Urban Places

A Czech self-proclaimed starting photographer based in Bristol, trying to capture the beauty in every day, the mundane and living in the present. To me, photography is all about emotions and feelings and creating photographs that evoke and reflect the sentiments and feelings of warmth, happiness and memories but also sadness, nostalgia and emptiness. TOMAS CIHAK A Czech self-proclaimed starting photographer based in Bristol, trying to capture the beauty in every day, the mundane and living in the present. To me, photography is all about emotions and feelings and creating photographs that evoke and reflect the sentiments and feelings of warmth, happiness and memories but also sadness, nostalgia and emptiness. LOCATION Bristol UNITED KINGDOM CAMERA/S Panasonic Lumix LX100 @TOMCIHAK FEATURES // Living in the Moment

PICTORIAL STORY THE ARTISANAL SALT FARMERS OF GOZO Naima Hall invites us on a journey with the Cini family, giving us a glimpse into their artisanal salt-farming practices and uncovering the broader geo-heritage of Gozo. August 2, 2023 PICTORIAL STORY photography NAIMA HALL story NAIMA HALL introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Hidden away on the island of Gozo, the Cini family have been farming salt for generations. Their commitment to producing some of the purest salt in the world has made them renowned in Malta and beyond. It is this dedication to a craft that, through time, has remained unchanged, just modified. In August 2022, dedicated environmental photographer Naima Hall had the opportunity to document the Cini family’s enduring dedication to their craft. With a thoughtful eye and quiet precision, she captured life within the Xwejni salt pans — a microcosm where labor and landscape intertwine, revealing the profound and personal bond between people and place. Naima has always been interested in metaphysics and quantum mechanics as relates to time, consciousness, reality, and the human experience. Her recent photo credits include publication in Photojournalism Hub, Wanderlust Travel Magazine, Corbeaux Magazine, and digital travel media for Cuba and the Azores, and the Smithsonian Magazine public archive. As a member of the National Press Photographers Association (NPPA), Naima aspires to tell stories through visual images and written commentary through photo-essay and photojournalistic endeavors — capturing indelible stories that are both universal and personal. Naima Hall’s project invites us into the world of the Cini family, offering a rare glimpse into their artisanal salt-farming traditions and the rich geo-heritage of Gozo. Their story, passed down through generations, reflects a deep continuity between people and place. Gozo, the second largest island within the Maltese Archipelago, lies south of Sicily and east of Tunisia and is part of the Republic of Malta. The unique geology of Gozo, rich with limestone sedimentary shore platforms, has lent it to a history of salt cultivation that can be traced back to the middle ages. Since the 1950s, artisanal salt farms in Mediterranean Europe have been on the decline due to a complex variety of factors related to land use, development, tourism, and urbanization. There are approximately ninety active salinas remaining in operation within continental Europe. One of them has been operated by the Cini Family of Gozo. For over one hundred years the Cini Family has been cultivating Leli Tal-Melh artisanal salt in the Xwejni salt pans. Josephine Xuereb is a 5th generation Leli Tal-Melh salt farmer and has recently taken the helm of her family's salt farming practice. Her primary role is to ensure that every harvest is maintained as it has been for the last one hundred years by her forefathers. Without mechanization or hired help, this industrious family has maintained a remarkable cultivation practice of the purest salt in Malta. Josephine insists that the only ingredients are “the sea, sun, air, and time.” Through their commitment to their lineage, the Cini family are an embodiment of the style of humility and endurance that is required to produce this biblical mineral coveted throughout Malta and around the world. One of the initial steps in salt production is filling large primary dehydration pans with seawater for the first stages of evaporation. After substantial evaporation has taken place and the water thickens with salinization, it is transferred by using a reservoir water-channel system into secondary shallow pans where it will have more intensive exposure to the sun and air to expedite the dehydration and crystallization process. Approximately seven days after the shallow pans are filled with water, the salt is ready for harvest. They sweep the upper layer of a salt pan where the salt has crystalized and it is then ready to be formed into small piles where preliminary drainage will continue before bucketing. According to Josephine, the salt from this region is heavy in iodine and magnesium indicating its characteristic terroir. Once in buckets, there are holes in the bottom of the bucket to allow for a continuous process of water removal which ensures that the salt is at its lightest weight before being transferred into bags that will be hand-carried to trucks for transportation and packaging. Josephine affectionately refers to the salt as “summer snow”. Throughout the five month harvest season (April - September), Josephine and her family typically carry three tons of salt per week – by hand – from approximately three hundred and fifty pans to trucks that will transport them to a packaging station. During a strong harvest season between eighteen to twenty tons of salt will be collected overall, while only eight or nine tons will be collected in a less fruitful year. The Maltese archipelago has the highest number of daylight hours and some of the hottest average temperatures in Europe. The limestone composition of the cave keeps temperatures within the walls significantly cooler than outside. The Cini cavern is equipped with sufficient electricity for basic lighting and cooking. Josephine and her family escape the heat of summer by spending time in the cave which serves as the heart of family life in close proximity to the salt pans. As the patriarch of this salt-producing family, Josephine's father, Emmanuel Cini, continues to serve as the most recognized face of his family's trade. He never forgets his earliest days of salt harvesting. Emmanuel remembers when he began working in the pans in the 1960s with his wife Rosa. During that period the salt was typically transported by donkey in large quantities to individual family homes. At that time, refrigeration was not readily available in Gozo, and salt was used as the primary food preservation agent. Rosa Cini spent her work life entrenched in the salt pans, waking at 4:00 a.m., enduring high summer heat, and participating in the hand-carrying of several tons of salt to transportation vehicles each harvest season along with her family members. Now that she is retired, she insists that she never wants to be idle and is always doing something to keep busy. As the matriarch of a family that strongly values tradition and industriousness, she has made a transition from salt farmer to textile artisan producing pieces that will be used for generations. It's easy to see the visual allure of the salt pans, which provide exotic topography for visitors to brag about on Instagram. However, sometimes the family incurs challenges when less respectful travelers trespass onto the salt pans disturbing delicate aspects of cultivation and the integrity of the pans. One of the additional obstacles faced by the Cini family is with regard to the property boundaries on the bayside which can sometimes be crossed by unassuming divers. The family consistently makes attempts to protect their century-old tradition from erosion and degradation that can happen at the hands of human interference. While most of the Cini family product is sold offsite, having a small salt-selling station at the cave serves as an active museum, education center and tasting area that allows the family to communicate information about their cultural heritage in a live venue. For the Cini family, salt is about community, relationships and an opportunity to meet people from all over the world. Hikers sit near the abandoned salt pans of Xwejni catching some shade under a limestone rock curvature. © Naima Hall Josephine sweeps the upper layer of a salt pan where the salt has crystalized and is ready to be formed into small piles where preliminary drainage will continue before bucketing. © Naima Hall Bucket of salt. © Naima Hall Josephine carrying salt bag and bucket. © Naima Hall Josephine educating consumers. © Naima Hall Josephine selling salt to customers. © Naima Hall Here, an abandoned salt cave is a reminder of an earlier era in which more families in Xwejni participated in salt production. © Naima Hall Emmanuel in the cave. © Naima Hall After waking from his nap in the back of the cave, Emmanuel Cini prepares coffee and pasta. The family cave has expanded since its original incarnation, with an additional section implemented to allow more space for eating, sleeping and for storing salt and harvesting supplies. © Naima Hall The exterior of the Cini family cave is decorated with sun bleached local and international media features representing the family's intergenerational history with salt. © Naima Hall Josephine and Rosa escape the heat. © Naima Hall Rosa making a quilt. © Naima Hall Selfies and models near the salt pans. © Naima Hall The Cini family's incredible commitment to their craft is an inspiring example of how a culture can remain undiminished through time. Through the work of Naima Hall, we are now able to explore their timeless story. Let us appreciate and protect this way of life, so that the Cini family and countless other salt farmers can continue to share their culture for many generations to come. View more of Naima’s remarkable photography journeys through the links below. view Naima's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape.

FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. FUTURE HACKNEY Photographic Activists and Community Advocates January 26, 2025 INTERVIEW PHOTOGRAPHY Don Travis and Wayne R Crichlow INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Don Travis and Wayne R Crichlow are the visionary photographers and community advocates behind Future Hackney, a groundbreaking initiative that merges photographic activism with social engagement to amplify the voices of inner-city marginalized communities. Their collaborative approach redefines how photography can serve as both an art form and a tool for social justice, through authentic storytelling and community empowerment. Don Travis, a London-born, self-taught photographer, brings a rich academic background in Culture and Society (BA) from Goldsmiths University and Audio-Visual Production (MA) from Guildhall University to her work. Her dedication to her community is intrinsic to her photography. It is an extended hand to the people that surround her. Don listens through the lens giving a clear voice to those she photographs. “Through shaping our streets with art and storytelling, we enrich our neighbourhoods. I am interested in everyday people - photographs, oral histories, and reminiscences are the foundation of urban folklore. When I create a street portrait, I ask the person about their life and relay those photos and stories back to the community on the street as large scale galleries. With Future Hackney’s street exhibitions, I am reclaiming our neighbourhoods from dominant commercialism, as I believe that our own stories are more vibrant and meaningful.” Wayne R Crichlow, an East London-born street and documentary photographer, uses his lens to craft powerful narratives that champion underrepresented communities and the right to protest. Born to West Indian parents, Wayne’s journey began with a simple bridge camera, sparking a passion for capturing everyday life and exploring photography as a tool for advocacy. His work blends honest storytelling with humanist perspectives. Through his distinct style, he amplifies voices, preserves moments, and highlights the transformative power of photography as a force for social change. “Through my photography, I reveal the intricate connections between individuals and their environments, transforming candid street photography into a powerful medium for humanist storytelling. From chronicling the effects of social change in the impoverished townships of the Western Cape, South Africa, to amplifying the voices in the ongoing struggle for racial and social justice in the neighborhoods I live in, I passionately advocate for those whose stories deserve to be shared.” Since 2018, Wayne and Don have collaborated creating “Future Hackney", co-authoring narratives and co-directing exhibitions that celebrate the rich cultural tapestry of Dalston’s Caribbean and diverse communities. Don and Wayne capture the intricate dynamics of neighborhoods often overlooked or misrepresented. With an eye for street portraits and oral histories, Don transforms public spaces into platforms for storytelling. By weaving the personal and collective histories of her subjects into her photography, Don creates powerful visual archives that challenge stereotypes and highlight the strength and fortitude of these communities. Whilst I was visiting London, I saw two exhibitions in the neighborhoods they support and represent: Hackney and Dalston. Both exhibits are on large walls that are exposed year-round and an intricate thread in the community. The photographs are there for everyone to witness, embrace and acknowledge as part of their vibrant diverse community. I had the privilege of personally meeting Don Travis, and we agreed that conducting an interview would be an insightful way to delve into and highlight the significance of their work, while amplifying the voices of these diverse communities to reach a broader audience. Future Hackney believes that visual arts should be on the streets for everyone. They have found places to exhibit that have been donated to highlight the community they embrace. IN CONVERSATION WITH DON TRAVIS AND WAYNE R CRICHLOW FROM FUTURE HACKNEY The GILLETT SQUARE STORIES exhibition documents and celebrates the people of Gillett Square, one of Hackney's remaining working-class neighborhoods. Through photography and oral histories of the Caribbean and African communities Future Hackney presents a snapshot of the space. Highlighting this area as part of the fabric of East London, and its living legacy of protest and resistance. As a participatory arts project, Future Hackney continues to support communities to share and archive their own histories. Don and Wayne combine both documentary and co-authorship to create a hybrid genre of photographic storytelling. Their exhibitions are inclusive, working at the intersections of photography and social engagement. We ask Don and Wayne to expand on their extraordinary GILLETT SQUARE STORIES exhibition, and what it has meant to them and how it has affected the community. THE PICTORIAL LIST: What inspired the focus on Gillett Square for this exhibition, and how does it reflect the broader cultural and historical significance of Hackney’s working-class neighborhoods? FUTURE HACKNEY: Gillett Square was a traditionally working-class neighbourhood for the Caribbean and Irish communities in the 1970’s and 1980’s. Our exhibition includes some of those voices still present in the area, alongside some younger voices who continue to make the space innovative. It’s a creative and diverse space. All this against the background of social injustice. TPL: How did you gather the oral histories and personal stories featured in the exhibition, and what role did community members play in shaping the narrative? FUTURE HACKNEY: We co-create in the storytelling, writing the oral histories and reminisces with the locals and let them shape the direction of their history. What should be included and given emphasis. We work together to create an overall narrative and then more individual and personal stories. We met participants in the square itself and work on portable laptops and phones to document their lives. We have local community leaders who make intros with the more vulnerable and harder to reach. TPL: Can you share more about the collaborative process between Future Hackney and the Gillett Square community? How did co-authorship influence the final presentation? FUTURE HACKNEY: The participants in the exhibition are shown the exhibition as a whole and their part in that wider story. This creates cohesion and a sense of belonging with the area. They are aware of all the creative decision making and play a part in that. We give back to the participants using photographic prints and typed up stories, so that they are able to share those with their family and friends. Tony: “My story goes from care home, to street, to prison. People get paid to foster and sadly many of them do it for the money. I never got hugs or much love, so I wasn’t ever sure what that kind of love actually was. I would like to raise awareness of the care system and how much neglect there is. Sometimes in life you don’t get to choose what you do, how you make a living or how you survive. If I had a choice I would have been a posh kid and lived the good life and gone to university and got something out of life, the right guidance, the right support and the right mentors. I’ve worked with JME, Boy Better Know, Skepta and Wiley. But in this right now, I’m just trying to do it by myself.” © Don Travis A place for kids and those who like to shine. © Don Travis Abigail Asante: “I blew up in music when I was 21 years old, with my music partner at the time. We were the first two females to pass three million views in drill music, so we made history and trended. Drill music originated in southside Chicago depicting the area’s challenging environment. I like to talk about issues that affect women including colourism and abuse.” © Don Travis Back in the 1980s, Dalston was like a magnet for black and working-class communities with weekly shebeens and parties. Many of these people found refuge in the area at venues such as the Four Aces, Centerprise and Cubies. © Wayne R Crichlow Clapper Priest: “I’m dead against stop and search: it’s counterproductive to the community. I’ve been stopped and searched around 60 times in my life. Certain ideologies that were created during colonialism were used to negate black people, who are still struggling with those labels.” © Wayne R Crichlow Dillon: “I became addicted to heroin about two years ago and I am trying to get out of it. Addiction is about pain not drugs. People in Dalston look out for me and understand why I am going through this.” © Don Travis Future Hackney aims to make art and photography inclusive, removing it from the traditional white box and on to the streets where it becomes part of the fabric of the city. © Wayne R Crichlow Future Hackney are reinventing documentaries through continuous engagement and street workshops with young people and intergenerational groups. People are encouraged to share their stories and images in their own way. © Don Travis Half Pint: “At the age of 11 I carried a handgun. A magnum, which my bredrins gave me to protect mum and the cousins. I never used it and never wanted to, but I was the one who had that responsibility, as Dad had left. Growing up in Waterhouse ghetto (in Kingston, Jamaica) was tough love, so at the age of 19 I arrived in a bitterly cold London and got my first job on Ridley Road (a market, near Gillett Square).” © Don Travis Joshua: “I came to the UK a year ago from Montserrat, a small island in the Caribbean. I walk my friend’s dog Cabanna and get to chat to people in the square. I used to look after dogs back home so this gives me a sense of belonging.” © Don Travis Keyo: “The first time I experienced racism was at Notting Hill carnival. It was 1977 and there was a lot of tension in the air. Something kicked off and the police grabbed me and pushed me up against a van. I could hear people shouting, “Let him go, he’s just a kid.” First one or two, then it sounded like 50 people. They backed off and I went my own way. This was my first understanding of the power of community.” © Wayne R Crichlow Nicole Morgan: “Gillett Square has a complex past of black and working-class history, police brutality and structural racism. However, in recent years it has become a vibrant space with regular events and young voices.” © Don Travis SBK: “I’m a local music artist who produces and writes all my own work. My music is a range of genres and I spit my own lyrics. Really it was grime music to begin with. Grime resonated with me because it embodied a lot of the anger and confusion that I was going through.” © Don Travis Wayne: “Growing up locally we understood the relevance of Gillett Square as a place where stories can be told, shared, documented and preserved as part of London’s history.” © Wayne R Crichlow These intergenerational stories include histories of personal struggle, such as mental health, the foster care system, gender norms, structural and institutional racism and sexism. © Wayne R. Crichlow TPL: What steps were taken to ensure inclusivity and accessibility in the exhibition, and how does the project bring visual arts to the streets for everyone to engage with? FUTURE HACKNEY: Our projects are inclusive and engage the communities we document. We include everyone. Our exhibitions are on the street and accessible to everyone, especially those members of the community who would not normally be seen in a traditional gallery. We engage with all people in the community including those with differences including those who are neuro divergent, non-binary, substance users and those with physical disabilities. TPL: How does this exhibition highlight Gillett Square's living legacy of protest and resistance, particularly through the lens of Caribbean and African communities? FUTURE HACKNEY: The area is historically a space of protest and resistance, going back to the riots and civil unrest. These communities have fought to keep the space their own. They challenge authority on a daily basis through their presence on the square. They use the space to socialise, play music, protect each other and eat and drink. This is sometimes viewed as anti-social behaviour, and they face heavy police presence and discrimination. However, these locals are considered the fabric of the community by other groups who also feel ostracised. There are events where these disparate groups then come together to fight for space. TPL: What are some of the standout memories or reflections from participants, such as Clapper Priest, Marcia, or Leroy, that you feel capture the essence of Gillett Square’s cultural heritage? FUTURE HACKNEY: Clapper Priest reflects on the freedom of the space and how the actual community has control of their own social events and history. Leroy reflects on the police abuse of the 1980s and the institutional racism of the time. Leroy talks about the buses not stopping for groups of young black men. This captures the racism of the time. We co-create in the storytelling, writing the oral histories and reminisces with the locals and let them shape the direction of their history. Don and Wayne expand on the diverse and inclusive THE STRIP exhibition, and how people have found a true sense of home and extended family here. They state it is “A visual love letter to our community.” Future Hackney is celebrating Kingsland Road, known locally as ‘The Strip’. A magnet for music and movement, with anti-fascist roots, protests, marches and radical venues, Dalston has always been a lively counterculture. ‘The Strip’ creates a space for people who are often marginalized, to be seen and celebrated. Wayne and Don hope to inspire this incredible place they call home and welcome visitors to learn about Dalston and the beautiful everyday people that make up the community there. Future Hackney believes that storytelling is an essential component of community building. It asks that we value our own histories and the histories of our neighbors. As a participatory arts initiative, Future Hackney remains dedicated to empowering communities to preserve and share their own stories. Don and Wayne blend documentary techniques with collaborative storytelling, forging a unique fusion of photographic narrative. Their exhibitions prioritize inclusivity, seamlessly merging photography with social engagement to create meaningful and accessible art. TPL: What inspired the concept of ‘The Strip’ as a visual love letter to Kingsland Road, and how does it reflect the cultural and historical identity of Dalston? FUTURE HACKNEY: Kingsland Road is locally known as ‘The Strip’. It is the epicentre of East London and has become a place for marginalised groups, young people, artists, The Queer community and everyone else. It reflects the neighbourhood from the older generation right through to those who have just moved in. It’s all about acceptance of difference. The demographic has changed, in that, it is now much more expensive to exist there. Urban regeneration has caused a disparity in the area. TPL: How did the legacy of venues like The Four Aces and their fight for freedom influence the narrative and themes of this exhibition? FUTURE HACKNEY: The Four Aces was the catalyst of the exhibition and project which was brought to life by the words of Newton Dunbar. Newton’s club welcomed everybody and started off as a place for the Windrush generation. It then opened up to welcome all and “break down barriers”. TPL: In what ways does the exhibition address the anti-fascist roots, protest movements, and countercultural history of Kingsland Road? FUTURE HACKNEY: The exhibition, through its flamboyant and diverse photographs, carries the torch of anti-fascist protest from the past. The Strip reflects the area as it is now, which is accepting and celebratory of difference. Andy: “I'm originally from New York, I live with my pal Mr. Moustache cat just off ‘The Strip’. I am very grateful to call Dalston my new home.” © Wayne R Crichlow Bad News: “In 1989 Hurricane Hugo mashed up the country. I never forget that. It was September 13th, and it came at one o’clock in the morning and stayed until midnight the next night. We got lashed from this hurricane. It flattened the island from one side to the other and there were no trees, no bush, no houses, just dust everywhere. Everyone thought Montserrat was finished. After the hurricane the animals, sheep, birds, people – everybody in the one house, everybody come back together. People had to bathe in the rivers, and it was like god brought everyone together. People left the country after that and went all over the world.” © by Wayne R Crichlow Bobby: “Dalston Superstore is everything. It’s like our mecca. Superstore is the home and the anchor for anyone and especially me. Superstore is a place for people that don’t have a place in London.” © Don Travis Claudette: “Dalston was the frontline in the 1980’s and what I mean by that is that it was the place you went to. It was where you found out what was going on. The frontline was a community together.” © Don Travis Cornelius: “They call me ‘Dalston’s best dressed man’ and I am known for my sharp suits.” © Don Travis Cynthia: “My story begins in the 1960’s with my dad Clive Gilbert, who would take us to Ridley Road in Dalston every Saturday, and it was an event. He was a tall man, who would walk very fast, and me and my three sisters, Jenifer, Audrey, and Thelma would march behind with our trolley.” © Wayne R Crichlow Nadia: “It was such an honour to be asked to dance at the 15th birthday rave in Gillett Square in Dalston this summer. The sun was bursting out of the sky for most of the day. I felt an amazing sense of well-being, surrounded by friends and happy strangers, dancing to the stella dj line. Opening a queer space in Dalston 15 years ago is real trailblazer behaviour and I’m so proud Dalston Superstore is still going strong. It’s a space where you can be who you want to be.” © Don Travis Newton Dunbar: “I ran my club, The Four Aces, opposite where you are standing. It was the centre of music and culture, and it made Dalston unique. We had to fight for those freedoms, to dance together, to never forget.” © Don Travis Nino: “I’m from Turin, Italy, but I left thirteen years ago to break free. Turin…I knew everyone there - it felt too small, too predictable. I was chasing something bigger, a place where you can truly be yourself.” © Don Travis NTS revellers: “The parties in Dalston by NTS Radio and Dalston Superstore are testament to Dalston’s continued notoriety as a place to dance and come together. Living in Dalston is a vibe, fam.” © Wayne R Crichlow Shaun: “I am a Ridley Road local and I have seen the changes in Dalston over the last few years. The rich people do not always see us and we feel invisible sometimes. We still have a strong history in the area and this project by Future Hackney shares that heritage with everyone directly on the street.” © Wayne R Crichlow The Mighty Ruler: “The Mighty Ruler sound system crafted by the late “Count Rob” was an integral part of Dalston’s history and breaking down barriers in the 1960’s and 70’s. We are a group of around ten friends, primarily, we come from a few different sound systems, but we’ve been working together for a long time.” © Wayne R Crichlow Tom: “Dalston is an inspiring place with energy and rawness and is a massive part of my life. It’s a place that makes me feel excited. I first started coming here in 2008 to go to underground basement clubs along the Strip, Kingsland Height Road.” © Don Travis TPL: How did Future Hackney engage with local residents and communities to co-author and document the stories featured in ‘The Strip’? FUTURE HACKNEY: We use the same method with all our projects including and co-creating with Londoners. TPL: What role does the concept of inclusivity play in this project, and how does the exhibition create a space for marginalized voices to be celebrated? FUTURE HACKNEY: Through showing these communities on our streets, we are expressing a quote we hear from many young people: “You can’t be what you don't see”. So, by visualising these newly identifying young people we empower them through our art and advocacy. TPL: How do you hope this exhibition will impact both residents and visitors, and what message do you want them to take away about Dalston's unique character and history? FUTURE HACKNEY: With the changing demographics and new people arriving in Dalston, we were conscious of showing the history of the space. All the people who made Dalston cool and fought for the right to socialise and be political - the right to be who you want to be. This legacy has now been embraced and adopted by the next generation of Dalstonites. For over eight years, Don and Wayne have collaborated through Future Hackney, using their photographic activism to bring marginalized stories to the forefront. Supported by prestigious organizations such as The National Heritage Lottery Fund, Autograph Gallery, and The Museum of London, Future Hackney’s projects have revitalized urban spaces and fostered social cohesion. Through workshops, galleries, and street exhibitions, they’ve transformed photography into a communal activity, empowering residents to see their lives reflected in art that celebrates their humanity. At the heart of Future Hackney’s mission is a commitment to preserving the cultural heritage of inner-city neighborhoods while addressing the challenges posed by gentrification and commercialization. Don and Wayne’s work captures the essence of these communities, creating visual narratives that honor their histories, struggles, and aspirations. Their photography serves as a dynamic form of activism, ensuring that the stories of urban life remain rooted in the voices of the people who live them. The Pictorial List thanks Don and Wayne, Future Hackney, for enlightening our readers with their candid and informative interview. We also would like to thank them for their activism and advocacy helping to make this world a better place to live in. Loving thy neighbor could not be better expressed. Exhibition Locations: Gillette Square Stories - British Red Cross donated wall, Dalston Lane, Hackney E8 1NG The Strip - The Strip runs from 9 October 2024 until August 2025 at the entrance to the Curve Garden on Dalston Lane, Hackney E8 3DF These projects have been funded and supported by The National Lottery Heritage Fund and the Hackney Council Follow their links to learn more about them and their incredible work! VIEW FUTURE HACKNEY'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

PICTORIAL STORY THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. September 14, 2025 PICTORIAL STORY PHOTOGRAPHY Eva Mallis STORY Eva Mallis INTRODUCTION Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Eva Mallis is a New York City-based street and documentary photographer whose sharp critical eye uncovers the quiet narratives in everyday moments, translating them into compelling visual stories. With a visual language grounded in observation, empathy, and restraint, Eva documents daily life with precision. Her photographs are rich in detail, layering narratives that reveal the complexity of overlooked moments and unseen labor. Her photographs become human studies, social commentary, and quiet invitations to witness life as it unfolds, unadorned. Before ever lifting a camera, Eva was already an observer of life. For over two decades, she has navigated the intricate, fast-moving world of New York City real estate, a role she continues to inhabit today. This work has served as an urban classroom, sharpening her street sensibility, deepening her empathy, and granting her rare access to the full spectrum of human experience. These encounters quietly shaped her photographic voice long before it found its formal expression. In her images, she distills moments to their emotional and geometric essence, favoring clarity over spectacle, and truth over ornament. Educated at Georgetown University and The Wharton School of Business, Eva found her passion for photography post-college in Washington, D.C., before diving deeper into the craft at the International Center of Photography (ICP) and workshops around the world. Today she captures images across continents, drawing inspiration from the boroughs of Queens and Brooklyn to the industrial alleys of Mumbai and the open-air markets of Myanmar, seeking out everyday moments that reveal deeper human truths. In The Everyman , Eva offers more than a visual account of the streets of Mumbai. She reflects on labor, legacy, and the often unseen structures that shape daily life. What starts as a simple choice at a busy intersection gradually becomes a quiet exploration of work, and the human presence behind ordinary routines. Eva’s decision to walk toward the industrial district is more than a simple change in direction. It reflects the core of her work, which consistently draws her to people and places that are often overlooked. Her camera is not just a tool for documentation but a way of paying close attention. In the faces of welders, machinists, and haulers, she sees traces of her own history. They remind her of her father’s hands and of a legacy built through work, sustained not by language but by resilience and quiet determination. Eva shares her story with us, offering insight into her process and practice and allowing us to witness her inspiration firsthand. There we were, at a busy intersection in Mumbai — myself and a small group of photographers. It was my fourth time in India, and I was participating in a photo workshop. Our local guide offered suggestions on where to explore, hoping we’d capture the city’s vibrancy and its constant motion. “If you go to the right of the intersection, you’ll find colorful markets — produce, housewares, and families everywhere. If you go to the left, you’ll see the industrial side of town — recycling yards, factories, blacksmiths, and more.” Without hesitation, I veered left. To my surprise, I was the only one in the group heading toward the industrial area. So be it. Within minutes, I was weaving between trucks, men hauling heavy loads on handcarts, and the rhythmic sounds of machinery. I knew I had made the right choice. I’ve always been drawn to watching people move parts, operate equipment, and shoulder heavy burdens. I walked down narrow lanes, observing the cadence of work, trying not to intrude, offering only a smile to convey my respect and admiration for what they were doing. I spent several hours in that industrial pocket of the city — watching men unload stacks of fenders from trucks for recycling, garment workers bent over their sewing, and repairmen deep in concentration. It was a beehive of activity, utterly mesmerizing. By the end of the day, I had a collection of images that left me breathless. Reviewing my photographs later — alongside those from previous trips to India — I saw the thread I had been following without realizing it: the everyman. I am drawn to labor — not the abstract concept of work, but the physical presence of it. The cadence of movement. The choreography of muscle and machine. The quiet persistence of people engaged in tasks so ordinary they are invisible, yet so essential they hold the world together. Perhaps it’s in my blood. Why am I drawn to photographing people at work, immersed in their daily, often monotonous routines? Why does machinery, industry, and production speak to me so deeply? I think it’s because I feel compelled to document the everyman doing the everyday job. That pull is personal. I grew up watching my father, an immigrant from Greece, do just that. His skills as a cargo ship mechanic served him well when he arrived in America and found work as a plumber’s assistant. He didn’t speak a word of English, but he had a strong work ethic and labored tirelessly for many years, eventually achieving a measure of economic success. The road was not easy — it was filled with risks, disappointments, and moments of starting over. But he kept going. Perhaps that’s why, when I walk into an industrial quarter in Mumbai or a shipyard in another corner of the world, I recognize something familiar. The people I photograph — the welders, the recyclers, the machinists — carry the same steady resolve I saw in my father. In their focus, I see his focus. In their hands, I see his hands. The faces I find through my lens — bent over their work, hands steady, eyes focused — carry the same quiet dignity. And perhaps, without realizing it, I’ve been chasing my father all along. © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis © Eva Mallis Eva Mallis’ photographic journey is a quiet witness to the power of observation and the dignity of everyday life. Her work straddles both the deeply personal and the universally resonant, merging the intimate gaze of a daughter honoring her father’s labor with the discerning eye of a street documentarian committed to truth and nuance. Whether she is navigating the industrial arteries of Mumbai or the dynamic neighborhoods of Queens, Eva consistently reveals the quiet persistence of people and places that the world too often overlooks. Her photographs have earned a growing list of accolades and international recognition. She is a multiple-time finalist and exhibitor at Soho Photo Gallery in New York City, and has shown work at Leica Photo Gallery Mumbai, Atlantic Gallery, El Barrio Artspace, and Matted LIC, among others. Her images have been featured in juried shows by Professional Women Photographers, selected for Women Street Photographers exhibitions, and showcased in digital archives like the Queens Memory Project. Eva’s photography has been published in The Pictorial List: New York Edition, Queens Gazette, covering culturally significant events such as the Queens Hispanic Day Parade and Queens Pride, and her storytelling has been profiled by respected platforms like All-About-Photo and Street Photography Magazine, where her unique perspective on “the world’s borough” of Queens has been widely appreciated. In the competitive realm of photography awards, Eva has been honored by the Monochrome Photography Awards, received Honorable Mentions and Official Selections from the International Photography Awards (IPA) across several consecutive years, and was named a winner in PDN Magazine’s ‘TASTE’ Photography Competition. But beyond the exhibitions and accolades, Eva’s true contribution lies in her ability to see. She sees the effort in labor, the quiet poetry in repeated tasks, and the connection between a photographer and her subjects. She observes the grace in repetition and the shared humanity that connects us across continents and social divides. Her camera becomes a bridge between viewer and subject, between past and present, and between the personal and the collective. “Photography sharpens my awareness of the mundane, the unnoticed and attempts to communicate with sensitivity, people and their themes of life. Walking through the city streets, whether it be New York, Mumbai or Athens, I’ll catch a fleeting moment out of the corner of my eye - and in an instant the adrenaline surges. I feel that unmistakable euphoria of being in the ‘zone’. These photographs are more than images; they are flashes of pure, unfiltered ecstasy.” In an increasingly noisy visual world, Eva Mallis’ photographs are an invitation to pause, to notice, and to remember. In the case of The Everyman , they invite us to honor not just what we see but also what we recognize in ourselves. view Eva Mallis' portfolio website >>> instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s and are not necessarily shared by The Pictorial List. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape.

I was raised in the suburbs of New Jersey, a short bus ride from New York City. I earned a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise my family. After leaving research, I took an interest in photography and began taking classes at ICP and other online platforms. I honed my skills through many photography trips all over the world. My photography spans several genres including street photography, landscape photography and long exposure cityscapes. Currently my focus is a series of candid portraits of strangers captured on the streets of New York City. The people in the photographs all possess a characteristic, gesture, or physical trait that I identify as parts of my own story. The series is a composite of pieces of her life – a self-portrait. B JANE LEVINE I was raised in the suburbs of New Jersey, a short bus ride from New York City. I earned a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise my family. After leaving research, I took an interest in photography and began taking classes at ICP and other online platforms. I honed my skills through many photography trips all over the world. My photography spans several genres including street photography, landscape photography and long exposure cityscapes. Currently my focus is a series of candid portraits of strangers captured on the streets of New York City. The people in the photographs all possess a characteristic, gesture, or physical trait that I identify as parts of my own story. The series is a composite of pieces of her life – a self-portrait. LOCATION New York USA CAMERA/S Sony a9 and a7 WEBSITE https://www.bjanelevinephotography.com/ @BJANELEVINE FEATURES // Nod of Recognition

THE LIVES OF THIS CITY Olivier Fardel's photography is a celebration of the subtle beauty in the everyday – finding those remarkable characters that add a richness to the empty streets of Toulon. THE LIVES OF THIS CITY August 23, 2021 INTERVIEW PHOTOGRAPHY Olivier Fardel INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Olivier Fardel is a passionate photographer from France, who captures fleeting moments of emotion and solitude in his images. His work is a celebration of the subtle beauty in the everyday – finding those remarkable characters that add a richness to the empty streets of Toulon. Olivier’s photos are a window into the lives of those we pass on the street, capturing the loneliness and vulnerability of strangers in a single frame. He invites us to look beyond our everyday lives and find the beauty in every corner of our cities. His photos show us that even in moments of solitude we can find a connection with one another. Olivier’s work reveals to us that even in the most unexpected places, there is a beauty to be found. His images tell stories of moments of intimacy and resilience, as his lens penetrates beyond what we can see with our physical eyes. He gives us an insight into the lives of people who otherwise go unnoticed, and highlights their strength and courage as they move through life. Join us as we take a journey through Olivier’s work – exploring his inspirations and motivations behind his photography. As he takes us into his world, we discover how he immortalises these fleeting moments forever in a few hundredths of a second, and how he reveals characters who seem very lonely but so visible at the same time. “This series reveals characters who seem very lonely to me, too often but ultimately so visible. They parade in one direction, go in the other direction, come to meet us then move away and leave us. These men and women, who are they? I started this series in early 2019 with a quest for these remarkable characters, often in bright colors, with a particular background or foreground that sometimes seems to play with their charismatic silhouettes. With a little poetry and tenderness, shadows and looks, this new episode of a dozen characters finally has a thirteenth because in this holiday season, particular in more than one way, it is important to not to be left alone.” IN CONVERSATION WITH OLIVIER FARDEL TPL: Olivier please tell us about yourself. What was that moment that sparked your interest to pursue photography? OF: I have a university education and after that I followed a very varied professional career without any connection to photography. I live in Toulon in the south of France but I am from Dunkirk in the north. I am therefore imbued with a maritime city. A personal event made me want to walk around with a camera to occupy my mind and not let my thoughts wander aimlessly. I began by photographing the maritime coast before leaving for the West Indies and Africa, where I realised that I was taking pictures of the urban activity. This particularly interested me. I did not show my photographs until I realised they had to be live and therefore to be shared. TPL: What does photography mean to you? OF: First of all, it is giving importance to all things that interest me. It can be a particular emotion caused by a puzzle of elements, a contrast of colors or activity, a game between the different elements that make up the scene. A few years ago, I had fun taking and sharing a daily photograph at 7:31 pm. Beyond finding what I could photograph at this precise moment, I imposed myself an additional constraint of always accompanying it with a title that had to be found in just a few minutes. I realised that titling or accompanying a photo with a short title or slogan allowed me to play with the image. This title is often a word game or a turn of word that echoes my photographic intention. TPL: How would you describe your photography style? OF: It is quite difficult to describe it...because I am as well attracted by the color as by the black and white. I try to give the subject of the photo a certain particular closeness to the viewer. If I don't walk around enough in the streets to have material for street photography, I photograph the nature of our garden, for example. I often use the black and white in order to play on contrasts and minimalism. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? OF: Harry Gruyaert is clearly my favorite artist. Probably because I find in the atmosphere of these Belgian, maritime and travel series, elements of my childhood and my life, but also because most of these published photos are taken during personal trips where his photographic research is permanent. I also like the photos of Meyerowitz, Depardon, Erwitt and Jean-Christophe Béchet. 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? Do you spend a lot of time editing? OF: I have a Canon 6D that I mainly use for photos in the personal circle of the sea, the mountains, nature and a Lumix GX8 for urban walks. I often use a 20mm with the Lumix which forces me, for my series "The lives of this city", to move around a lot to frame the characters as I wish. I don't like to use the phone because it is too old to take good quality photos and allow me to shoot in raw format and thus do a bit of post processing before editing fairly short in time. I love to ensure that my wife and daughter can thrive and marvel at the beautiful things in life and what I see through the lens. TPL: The past year and a half has been tough on many artists. How have you been feeling through this time, both personally and as a photographer? OF: Personally, fine. Having a garden and being able to continue working or teleworking were assets to live through these periods of confinement. We had a travel restriction that made walks impossible and at this moment I fell back on the lives of the garden. The situation opened up new photographic horizons for me. TPL: What are some of your goals as an artist and photographer? Where do you hope to see yourself in five years? OF: I have no other goals than to continue to have fun and to arouse emotion, a smile or astonishment in the eyes of those who will want to look at my photos on my website. One day, it's true, I would like to exhibit to see those reactions and give more importance to messages that I sometimes try to convey. TPL: Are there any projects you are currently working on that you would like to let everyone know about? OF: I continue the series THE LIVES OF THIS CITY in which I try to reconcile charismatic silhouettes with particular urban backgrounds, therefore a very colorful series. In parallel, I will continue, without leaving my home, the series LE BONJOUR D'ALFRED. The series is graphically in total opposition as it is minimalist in color and detail, it deals with these city birds which tend to be less and less numerous. TPL: "When I am not out photographing, I (like to)… OF: I love to ensure that my wife and daughter can thrive and marvel at the beautiful things in life and what I see through the lens." Olivier Fardel’s work is a vivid reminder of the beauty that exists all around us, even in the most unexpected places. His photos remind us of the importance of taking time to appreciate the everyday moments and find connection with those around us. VIEW OLIVIER'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. 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THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.