INTERVIEW October 15, 2021 MINIMALIST IMPRESSIONISM ​ Photography by Ixi Nijhawan Interview by Melanie Meggs As a photographer, Ixi Nijhawan’s work has always been a reflection of the world around him. After spending time in the advertising industry, he was struck by the shocking impact it was having on the environment, and the vast quantity of items being consumed. As a result, Ixi has shifted his focus to ethical and sustainable photography, using his art to raise awareness and promote minimalism. Through years of practice and experience, Ixi has developed an eye for capturing the beauty of the everyday, often creating abstract scenes full of vivid colours and shapes. He has a unique ability to isolate elements from their surroundings, creating minimalist yet powerful images that draw attention to their subject. By using his craft to advocate for environmentalism and sustainability, Ixi is creating a movement that goes beyond the artwork itself. Through his art, he is encouraging viewers to become mindful of the impact their consumption has on the environment, while promoting a lifestyle of mindful minimalism. Whilst working on an ad campaign, Ixi discovered that the average household in rich countries have over 300,000 items. Working with companies (big and small), the global advertising industry has ramped up growth and demand for products that is costing the earth nearly $3 trillion in environmental, social and human health damage. Ixi's journey as an ethical photographer is truly inspirational. His story shows us all that with creativity and passion comes great responsibility, and that through art we can create real change in our world. “I’m very fortunate to say that photography found me. And not the other way round. In many ways, it unshackled me and let me experiment. And the more I photographed, the more I gravitated towards certain aesthetics and causes that inadvertently helped shape the ‘why’ of my photography. Which is why, you’ll find certain recurring themes in my images - minimalism and abstract impressionism.” IN CONVERSATION WITH IXI NIJHAWAN THE PICTORIAL LIST: Ixi please tell us about yourself. How did you become interested in photography? What does photography mean to you? IXI NIJHAWAN: I was born in Chandigarh, which is north of India, but have little recollection of the place really as the family moved to New Delhi soon after. A few years later we shifted to Mumbai, when it was still called Bombay. That is the city where I studied and grew up and discovered the world of advertising. It wasn’t much later that I moved to Dubai and have been here since the early noughties, working in some of the finest advertising agencies in the region. Photography was always part of my professional life, working closely with different photographers on advertising campaigns. But I only looked at it more seriously late last year when I quit my job and decided to take some time off of advertising. It was during this time that I wanted to explore art that didn’t involve putting a logo on it. TPL: Where or how do you find your inspiration? IXI: From the photography greats. I can spend hours pouring over their work. The craft, the details, the angles, the stories. I also enjoy scrolling through my Insta feed. So much talent out there. It’s great to see people putting so much love into photography. TPL: Talk to us about your experience in how global advertising has impacted the environment. What would you like to see change and how can we all help to make a difference? How has this changed your own perception to how you photograph now? IXI: Thank you for asking me that question. It’s obviously a very broad one and also quite personal. To begin with, it’s not just the global advertising industry. It’s a massive cog, sure, but it’s the whole machine we should be looking at - from the manufacturers to the advertising agencies to the big tech. They have so much data on us that they know what triggers to press and how to sell to us. We’re turning our homes into warehouses. And it’s not like there’s a pool of unlimited resources. The limits of consumption have grown more and more visible. The Great Pacific Garbage Patch, for instance. If ever there was evidence of us trashing our planet, it’s right there. Floating. Three times the size of France. And it’s not even part of the conversation any more. It would be naive to think that profit driven companies will actually want to put limits on growth. So to answer your question, yes, we can all do something. And we should. It’s not sustainable at the moment. Justin Rosenstein, the former engineer at Facebook, summed it up quite accurately, “We live in a world in which a tree is worth more, financially, dead than alive. A world in which a whale is worth more dead than alive.” Which is why I’ve adopted minimalism and advocate it through my photography. Whether it’s for you or not, that’s an individual choice. But let’s make it part of the conversation at the very least. TPL: Describe your series “Minimalist”. How did the concept come about? What do you want the viewer to take away from these images? IXI: So this series, in a way, is the meeting point of many things that I cherish - aesthetics, values, philosophies. And it came to me when I was trying to experiment with the broader concept of minimalism in my own life - stripping away everything unnecessary and keeping just the essential. Slowly, it crept into my photography without announcing itself. If the images can evoke a sense of quiet reassurance and become a gateway to minimalism, it would be a personal triumph. TPL: Describe your series “Abstract Impressionism”. How did the concept come about? What do you want the viewer to take away from these images? IXI: This series is the desire to capture life in motion. How I experience the streets. Never still. People, a perpetual blur. Abstractions caught in light and shadow. And this helps me look at scenes a bit more theatrically. Everyone playing out a certain emotion or feeling in the arena of life. Ordinarily I might not remember these people once they have passed me by, but when I look at these images, I know exactly who they are and how they helped define that moment. A reminder of sorts, if you ever needed one, that our canvases can only be enriched by strangers. TPL: What are some tips or advice you would give yourself if you started photography all over again? IXI: It took me a while to understand what focal lengths are important for my photography. So, if anything, I would fast track that knowledge probably. Instinct helps me identify all the creative possibilities. TPL: Do you have any favourite artists or photographers you would like to share with us? IXI: Susan Burnstine, Michael Kenna, Sally Mann, Daido Moriyama, Vivian Maier, Sebastiao Salgado, Ken Van Sickle, and Barbara Kruger. And then there is Edward Hopper - his paintings are such an inspiration. TPL: When you are out shooting - how much of it is instinctual versus planned? IXI: When I’m working on my minimalist series, it’s a combination of both really. Instinct helps me identify all the creative possibilities, and if it’s not happening in a certain way on a certain day, then I plan to make it happen the next day or the next week. As for the abstract series, it’s mostly instinctual. Even with an identical technical process, the results can vary quite a bit. And I think that’s part of its charm as well. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have any preferred lens/focal length? IXI: Of course the equipment helps. There are certain features in the camera that make a difference to how I shoot. I’m currently shooting with a Fujifilm X-T3, but want to give Ricoh GR III a go as well. I prefer shooting wide, so 16mm or 23mm or anywhere in between (on a cropped sensor) are my preferred choices. TPL: What are some of your goals as an artist or photographer? Where do you see yourself in five years? IXI: I have visions of certain images I’d like to make in the future. And it will require planning as they are quite ambitious in their scope and visual detail. Beyond that, I’d like to explore more travel and landscape photography. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? IXI: I’m currently working on a project commissioned by a zine for the abstract impressionist series. TPL: "When I’m not out photographing, I (like to)... IXI: Remind myself that I should be out photographing and stop being a lazy ass." Ixi Nijhawan’s work is a reminder of the importance of sustainability and minimalism. His art is a celebration of the beauty of the everyday, and a testament to the power of photography to capture and convey meaningful messages. His work is a reminder of our responsibility to protect the environment, and an encouragement to appreciate the simple things in life. We take the opportunity to thank Ixi for sharing his insightful words and photography with us. VIEW IXI'S PORTFOLIO Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography.

INTERVIEW December 7, 2020 LANDSCAPES OF SOUTH AUSTRALIA ​ Photography by Alex Frayne Interview by John St. With a 8mm camera in hand, Alex Frayne has been capturing the beauty and resilience of South Australia's landscapes for over 20 years. He has documented his travels through short films, a feature film and still photography, earning much acclaim for his Adelaide Noir and Theatre of Life series and books. Now, Alex is embarking on a new journey to document the timeless and daunting beauty of his home state in his upcoming book, 'Landscapes of South Australia'. Through his honest and artistic approach, Frayne hopes to capture the rugged beauty and strength of the landscapes, as well as the marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In this interview for The Pictorial List, Alex takes us on a journey to explore South Australia's vast and stunning terrain, giving us an insight into what it can mean to capture such beauty through his powerful images and narrative. “The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic.” IN CONVERSATION WITH ALEX FRAYNE THE PICTORIAL LIST: Alex, please tell us about yourself. How did you become interested in photography? ALEX FRAYNE: I think from the age of ten, I have had cameras around me. My mother bought me an 8mm movie camera in the early 90's and from there I moved into 35mm while studying filmmaking at Flinders University. Indeed my pedigree in film-making looms large in my photographic work, despite photography being my primary 'form'. Though born in the United Kingdom, (my Australian parents were studying there in the 70's) I have lived the majority of my life in South Australia and currently reside there. TPL: Tell us more about your project LANDSCAPES OF SOUTH AUSTRALIA. What was your motivation to make it a book? AF: The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic. To achieve that, I needed to suffuse the work in honesty and integrity. It meant that I needed to eschew all the notions and stereotypes that existed about landscape photography and South Australia. I needed to create a 'tabula rasa' so that the work could not be linked to pre-conceived notions of South Australia, or movies, or tourism or tropes that float about in my visual memory. This process of "erasure" is key to starting a new project, I feel. The new book LANDSCAPES OF SOUTH AUSTRALIA is a large, hardcover 216 page art tome which will be in shops for Christmas. I've been working on it this year with the designer Nick Phillips. Wakefield Press are publishing it, they've been very patient and loyal across this and my previous two books, 'Adelaide Noir' and 'Theatre of Life'. Michael Bollen is the boss at Wakefield Press, he works tirelessly at the helm. TPL: Your photographs tell a story and they have this special quality of light and richness of colour...all the quality of cinematography. Is storytelling actually a big part of your photography? AF: Yes colour and light and composition. These are the tools I use. Composition, specifically comes from my cinema heritage, as in the French phrase "mise-en-scene" which means "the arrangement within the frame" or the spatial geometry that exists within a frame. In terms of storytelling, yes, there is an element of that in photography, but I think it's not front-of-mind for me when shooting. For me, more important are notions of mood, tone, dreams, sadness, joy and revelation. People may ascribe a story to a photo, but that's their business. It will inevitably be different to my notion of the story. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? AF: I love to photograph ghost towns or rust-belt places. I think Woomera and Tarcoola top the list here, because of the decay that is imbedded in the beautiful and remote areas where they are located. The juxtaposition of these 20th Century places set against the wilderness that eventually saw their demise is fascinating, photographically speaking. These places were all part of various "industries." Woomera was once a Space-Race outpost with cutting-edge technology and a rocket range. It was the place for the Anglo Australian cold-war rocket testing site. Tarcoola was a gold-rush town on the Trans-Continental Railway Line. Tarcoola is actually a proper ghost town - nobody lives there, as in NOBODY. It's difficult to reach, but rewarding, photographically because you are seeing how things are, how things were, and you're enveloped by an outback landscape that has existed forever. To the south, you're in the Gawler Ranges, on Barngala land, inhabited for 60,000 years, with trees like this one, standing there against time and space. TPL: Describe your style? Do you mainly focus on landscapes although I love your series "The Overseers of Street" where you shoot street portraiture. As a photographer sometimes you can get pigeonholed into a certain genre...what are your thoughts on this. What are some elements you always try to include in your photographs? AF: I think my style is free-flowing and improvised, a bit like jazz...It's unrestrained and unencumbered and low-tech. I shoot only analogue formats, my camera gear is probably worth less than 2 grand...but of course there are expenses in film stock and processing (but I develop my own black and whites.) I shoot 120 film and 35mm. So I create my own 'music' through my art, I really don't think too hard about genres and such...if my heart desires to shoot a street portrait series, I'll go and do it. My second book was a portrait book, 'Theatre of Life'. What I don't do is ask permission from anybody to do what I do. I don't sit around wondering what friends and colleagues or powers-that-be might think. That's not jazz, that's art by committee. Elements I include in my work are whatever elements are required to yield an emotional response; and that response is more important that format, sharpness, camera brand or film emulsion. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AF: My favourite artists are the ones you've probably never heard of. The grass roots artists. The community artists, the rural artists, the art teachers in public schools, the amateurs and the older artists who've had to work in a factory their whole life and who have kept doing their hobby art. These people often they write to me asking if they can paint an image of mine to improve their technique. As far as major artists of influence I'd include Steinbeck, Miles Davis, the guitarist Allan Holdsworth and the noir-fiction writer James Ellroy. Frayne's eerily still urban landscapes have been likened in their classical framing and pervasive sense of strangeness in the familiar, to the work of Stanley Kubrick and Jeffrey Smart. - Simon Caterson, The Australian TPL: Do you have a favourite quote or saying that especially resonates with you? AF: Being a jazz nut I can't help but quote the great Miles Davis, who once wrote: "The real music is the silence and all the notes are only framing this silence." I think this applies to photography. It relates to using space, negative space and keeping the frame uncluttered. TPL: What motivates you to take photographs? Do you ever have any struggles in photography? AF: It's the same struggle that confronts most artists and that is the struggle of perpetually having to create new work that gives voice to the ideas that are always percolating away underneath the surface. The motivator can be variety of things. It can be artistic, commercial or in the best case, both. The motivator can also be boredom. If that is the case, taking photos is a sure-fire remedy. TPL: Describe what you love or hate about the camera you use? Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AF: I only shoot film, though have used digital for some night work. I shoot with three cameras: a Yashica 6x6 124g medium format camera; a 6x9 Fuji camera also in medium format; and I shoot a Nikon FE 35mm camera for everything else. I love all these cameras in different ways, they're all film cameras, and if handled properly yield images that produce sparkling, element images that digital can never reach. Film has an emotional undercurrent in the image, it just looks better to me. For monochrome I usually shoot Kodak Tri-x, and I develop at home in a HC110 developer. My favorite lens is the 4 element Tessar 80mm lens in my Yashica. Film can also have challenges. In a story that I've told many times, I once took my rangefinder Fuji 6x9 camera up to the Riverland. I shot what I considered to be my some of my best work. Unfortunately, I'd forgotten to take the lens cap off - a mistake that can easily happen with rangefinder systems. A day later the lab called to tell me the developed slide film had "no density." That's a mistake you only make once. TPL: Have you ever been involved in the artistic world before photography? AF: Yes I've been around art since forever. I had great teachers all through school and Uni, and I am surrounded by great people in Adelaide in all the allied arts. Adelaide is the arts capital of Australia - my old Latin teacher would say..."quod erat demonstrandum," Adelaide is the Athens of the South. TPL: What are some of your goals as an artist? Are there any special future projects that you would like to let everyone know about? Where do you see yourself or hope to see yourself in five years? AF: I think a goal is to continue being curious about the world! Without that, there is no anchor. I'd like to continue collaborating with other artists as I do from time to time and to continue working on my aesthetics. I think the notion of aesthetics is really wound up in how you view the world, which is really about how you understand your own place in the universe. This could take five years or fifty! Apart from the immediate project and book LANDSCAPES OF SOUTH AUSTRALIA, I am also working on a project with theatre director Catherine Fitzgerald, it's called called DRY, and it recently received major Commission Funding. It's a play, and features some of my images as projections. It's slated to tour in October 2021...definitely worth a look, Catherine's a top notch director. TPL: "When I am not out photographing, I (like to)… AF: I'm usually on a sand-belt golf course somewhere! I play golf off a handicap of 8...and if you think photography is a tough caper, try playing golf...it's an impossible sport." In Alex's new book, he has shown us a side of Australia that is often overlooked and forgotten. His photos take us on an intimate journey through the beauty and honesty of the South Australian landscape. His photography speaks of resilience and the triumph of the human spirit. We are inspired by his work and encouraged to reflect on the beauty of his home state and the importance of preserving it for future generations. To join in the celebration of this work, we invite you to buy his book or tour Alex's website and Instagram and see the beautiful honesty of Australia for yourself. VIEW ALEX'S PORTFOLIO Buy LANDSCAPES OF SOUTH AUSTRALIA Website >>> Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography.

SEAN PARIS ARTIST'S STATEMENT // I draw inspiration from the stunning natural landscapes and diverse wildlife found in the Yarra Valley. My dedication to encapsulating the essence of this remarkable region through photography has earned recognition in numerous international and national publications. While my expertise primarily lies in landscape photography, I also specialize in professional portraits and various other genres and styles. LOCATION Healesville AUSTRALIA CAMERA/S Full Spectrum Converted Nikon D800 (Infrared), Nikon D850 CATEGORY landscape, documentary, portrait WEBSITE https://www.seanparisphotographer.com/ @SEAN.PARIS ​ ​ FEATURES // Koala Country

ADRIAN WHEAR be inspired Gallery // ARTIST STATEMENT // I am not a street photographer that has studied the works of the renown pioneers of the genre, nor have I completed a photography qualification. Simply I am mostly a self-taught amateur photographer. Photography was a natural extension of my love of travel. The journey probably started during a trip to Ethiopia and Morocco. I captured a couple of images that drove me to explore photography as something more than a means of taking record pictures. Upon returning home I started to make the effort to go out and walk the streets and alleys of my hometown Melbourne and its inner suburbs, and in the process I started to discover my home cities true soul. From there I just photographed whatever captured my attention, slowly forming an understanding, vision and style for my photography. LOCATION Melbourne AUSTRALIA CAMERA Canon 6D MII CATEGORY street, documentary ​ @ADTAMO ​ ​ FEATURES // The Invisible Workers Praying For Peace Beautiful Coincidences

LUCAS JOHN be inspired Gallery // ARTIST'S STATEMENT // I try to document the little moments of beauty that exist in the spaces in-between us all. I'm self taught and learn through experiencing the streets, the energy, the characters and allow the moment and the camera to work together. Photography is not just an art, but life to me. LOCATION UNITED KINGDOM CAMERA Fujifilm XE-3, Ricoh GR II CATEGORY street ​ ​ @LUCASJOHN_PHOTOGRAPHY ​ FEATURES // Moments of Beauty

INTERVIEW February 10, 2023 THE CURIOSITY GAP ​ Photography by Samuel Ioannidis Interview by Melanie Meggs Samuel Ioannidis stands on the street, camera in hand, looking to capture the moments that unfold around him. Having always had an eye for capturing moments, Samuel bought his first real camera four years ago and has never looked back. His passion for street photography has led him on a journey of exploration and discovery, unearthing hidden gems and unexpected beauty in his home city and beyond. Rather than a fleeting glance at the world around him, Samuel is driven to capture a glimpse into the stories that reside in his photographs; to capture a piece of time and to communicate his story through his images. His goal is to create images that captivate and draw viewers into a curiosity gap, a contrast to the dizzying pace of modern life and social media. “I wanted to see the world through my lens, with lines and forms that reminded me of geometry. When I put this together I set myself up as a photographer who searches for beauty through light, color, and lines.” IN CONVERSATION WITH SAMUEL IOANNIDIS THE PICTORIAL LIST: Hello Samuel, please tell us about yourself. What would you say first drew you to photography? SAMUEL IOANNIDIS: I was born in Nuremberg, Germany, as a child of immigrants from Greece that came to Germany in 1960. Growing up here in Nuremberg, in my youth, I first came in contact with my fathers camera. I remember fondly of taking the holiday photographs with disposable cameras back then. I think that is what drew me into photography, having the responsibility for the family photographs and I liked it. TPL: You told us that you are obsessed with street photography. What is it that you love about this genre? How would you describe your photography, and what would you say you are always trying to achieve artistically? What is the story you want to tell with your photographs? SI: When I moved out of my parents place I lost the connection to photography for several years. Then I bought a cheap point & shoot camera for my vacations and tried to take some nice shots with it. But still, it didn't ‘click’ just yet for me. Then I remember seeing a Fuji X-E1 at the house of a friend and somehow I fell in love with the design, the look and feel, just the all around aesthetics of this camera. I bought a used Fuji X-E1 and was hooked again into photography. I got my first taste of street photography after attending a public street photo walk with a local street photo collective. The possibilities of taking photographs just being on the streets in the middle of daily life amazes me still today. The last couple of years, my style has moved towards a more minimalistic style. I try to avoid too many colors and concentrate on compositions with high contrast scenes. Artistically I want to achieve photographs that generate a curiosity gap for the viewer, capturing their attention for longer than a second, as a contrast to the fast paced social media. To be honest, I don’t try to tell a specific story with my photographs. I use my intuition and let it lead me without searching for a specific story. But I definitely do want to explore storytelling and thinking of creating a series in the future. TPL: Could you tell us what living in Nuremberg, Germany has inspired in your work? What special qualities unique to your town/city influence your street and the way you portray your community? Outside of your hometown do you have/had a favorite place to photograph? SI: Nuremberg has many sides. You can find many historical buildings in the old city centre with a rich history, but also many new and modern buildings that you can integrate in your photography. There is also a very active photography community you can find for any genre. I'm an active member of a local street photography collective, Nürnberg Unposed Collective (www.n ürnbergunposed.de), where I have found my photographic “home” so to say. Outside of my hometown I would love to visit New York City and Brooklyn again. But also the capitals of Europe are a destination for me in the future. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. SI: Inspired by my favorite street photographer Siegfried Hansen, I try to use a concept the most of the time. Which means I am trying to set myself so called triggers. If I go out taking photographs, for example, one of those triggers could be a specific color that someone wears, or for example, hats. Of course I don’t close myself off to other opportunities, which means I'm also on the lookout for good and soft light. But it helps to keep me focused if I already have an idea of what I want to achieve on a specific street session. TPL: What is the most rewarding part of being a street photographer for you? What are some challenges that you have faced? SI: The most rewarding thing I am experiencing has to do a lot with the street photography community, here in Germany, and elsewhere. Especially my good friends from the Nuremberg Unposed Collective. We consider ourselves like a small group of sworn-in good friends or even family who want to raise the acceptance of street photography here in Germany by organising exhibitions and meetups (small and big). But of course, also to have a lot of fun in the process. The biggest challenge so far, which continues to be my biggest challenge, is to keep my motivation up, especially if there are days where you don't have any photograph that you like. But I think the key to stay motivated is to stay humble, and to just appreciate the scenes and photographs that are not the best you have encountered yet. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? SI: Good question! Never thought about this, but yes. Definitely! I find myself keeping on the lookout, even if I don't have any specific camera with me (except my cellphone´s cam) or while running errands. But not always, as life is happening and is sometimes also very stressful. That's why I see photography also as a method of mindfulness meditation. Artistically I want to achieve photographs that generate a curiosity gap for the viewer, capturing their attention for longer than a second, as a contrast to the fast paced social media. TPL: How do you manage a work/photography balance? SI: If you are motivated it always seems easier to find time. But yes, a sort of plan during the week for some hours where you will be only focusing on my photography helps to stay in the ‘flow’. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? SI: Too many, that I can't mention here because the list would be too long. But I want to mention all those street photography collectives and solo street photographers in Germany that are part of a wonderful and great community. But to play by the rules, I will mention two of them: German street photographer Siegfried Hansen, who has helped me and many others also finding their own styles by establishing a specific system. Street photographer Pia Parolin, for her amazing energy, motivation and effort she puts into her work. Not only in her own photography, but also in many other fields. Like her great books, projects and her community work. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? SI: Joel Meyerowitz. He was one of the first street photographers that I have spent time researching about him, his photographs and specific style. I'm quite sure he is a great mentor. 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? Does the equipment you use help you in achieving your vision in your photography? Is there anything on your wishlist? SI: The first camera I ever have used was a one-time use analog camera when I was a kid and used them every once in a while during my youth. The first real camera was also an analog point and shoot camera from Canon. Many years later (around 2015), I just had the urge to get a camera for my vacations. A friend of mine showed me his Fujifilm X-E1 and I was totally hooked from the design, look and feel and the all-over aesthetics and wonderful colors. Since then I have stayed with Fujifilm. I use an Xpro3 at the moment. I love the design with the hidden monitor that helps you stay in the Flow, but also the rangefinder style of this camera. My preferred focal lengths are 23mm and 35mm (APS-C). To experiment a little bit more I am planning on getting a 50mm lens. But my all round focal length is and will be 35mm. To me personally it is very important to have a camera that you love to take in your hand because of its aesthetics, but also because you know it perfectly in and out. Of course I could take street photographs with any smartphone or any other camera as well. But I would always prefer my Fuji Xpro3 in every sense. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? SI: I am proud to announce that my good friends and I from Nuremberg Unposed Collective are hosting the annual street photography community meetup in our hometown Nuremberg on the 8th of July. More information can be found at: www.meetandstreet.de . It is a meetup of the German street photography scene where we just meet, talk and have fun together. But we will host also a public gallery with prints from the community that everybody can take with them and give a voluntarily donation. We are also working together with a local charity organisation for social projects. TPL: “When I am not out photographing, I (like to)… SI: Enjoy the company of my good friends and go to the cinema.” Samuel Ioannidis is an example of how creativity and passion can lead to exploration and discovery. His talent for street photography has allowed him to uncover hidden gems and unexpected beauty, both in his home city and further afield. Through his images, Samuel is able to capture moments that are not only captivating but also provide a contrast to the dizzying pace of modern life and social media. VIEW SAMUEL'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography.

INTERVIEW October 9, 2020 GRATUITY INCLUDED ​ Photography by Chris Suspect Interview by Melanie Meggs Chris Suspect is an acclaimed street and documentary photographer whose work has been exhibited around the globe and has won numerous awards. His photography captures the absurd and profound moments in everyday life, as well as the results of his deep dives into various subcultures. He is currently the chairperson of the Focus on the Story Festival in Washington, DC, and a guest lecturer at StreetFoto San Francisco and Street Photo Milano. His work has been published in the form of a book titled Suspect Device, which is held in the Leica Galerie Archives. In this interview, we delve into Chris Suspect's relationship with photography and uncover the stories that have shaped his approach to the craft. We explore the creative processes that inform his work, the events and experiences that inspire him, and the impact photography has had on his life and career. “Photography has literally taken me around the world. My first publication, Suspect Device, in 2014, brought me to Photokina in Germany where my work was included in a massive exhibit on music photography. This was part of Leica’s presence at Photokina, and they flew me to Germany to participate. While there, I shared my work with several German gallerists, and those connections brought me to Tbilisi, Georgia, for an exhibit of the same work as part of the Kolga Tbilisi Photo Festival. While this was going on I was also entering my street photography work into several street photography competitions in Miami, San Francisco, London, Brussels, etc. I often was a finalist in these events and over time I have been asked to present my work in these locations. All of this served as a springboard to other opportunities, which led me to Romania, Italy, the Middle East, etc. It’s been a nice and surprising journey.” IN CONVERSATION WITH CHRIS SUSPECT THE PICTORIAL LIST: Chris please tell us more about yourself. What led you to photography? CHRIS SUSPECT: I am from Hyattsville, MD, just over the border of Washington, D.C. While the DC area has been my home for most of these years, I have lived in Moscow, Bangkok and Copenhagen. In addition to being a photographer, I am also a musician, video producer and podcaster. My interest in photography started in my early 20s. I was not a photographer at that time but a bass player for a punk band called The Suspects. I used to go to the library to browse photo books and then make copies of the photos I liked for band flyers. I was primarily interested in war and crime photography because these kinds of graphic images lend themselves to great promotional posters for the kind of music we played. Fast forward 15 years and I wound up getting my first point and shoot camera to document the birth of my son. I read the manual and would go out on my own and try to see what I could do creatively with the camera settings. I had no idea I was doing “street photography” at the time, I was really looking to recreate the style of images I used for flyers many years ago. After some positive feedback on Flickr, many stolen images by bloggers, and requests by a few magazines, I decided to get more serious and started to pursue photography by enrolling in a colour photography class as a continuing education student at the Corcoran School of the Arts and Design. TPL: What excites you about the photography you are creating? CS: Ultimately what inspires me is that I do photography for myself. When I started out I told myself I did not want to do photography for money or earn a living off of it. In the past, I have started many creative ventures, for example music publishing, videography, and podcasting, that have turned successful and have become a job. Meaning, I started doing work for clients. What ultimately happens in each case is that I found myself doing work more for the money than for the sake of doing the work itself. This sucks the passion for it right out of the process for me. I think by not caving in to the lure of financial gain, I have been able to maintain my passion for my photographic work. It doesn’t matter if I make money or not. That is not what photography is about for me. Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: How do you choose your subjects and your projects? Also tell us a bit about your two previous published books? CS: Almost everything for me begins with a serendipitous act. Often I don’t choose a project, it finds me. For example, I have a body of work called Faith that explores gay African Americans and their relationship with religion. This came about by witnessing a car accident in Washington, D.C. I photographed the scene and gave copies of the images to the person who was hit by the car. Months later this person called me up and asked me to shoot a party. Knowing he was black and gay I thought it could be interesting, as I had never been to a party like that before. This experience opened up a whole new world to me that eventually led me to shooting underground African American Baptist Church services. Going to Romania for the VSLO photography and visual arts festival is what led to working on “Old Customs.” I wasn’t planning on starting a project when I went there, but once I got interested in their youth culture I just kept pulling on those threads and pursuing it, doing my best to make sense of what I was doing. At the start of 2020 I made a New Year’s resolution to publish 4 books, 1 for each quarter of the year. Old Customs is book number 3. The previous books are Gratuity Included, a collection of wild party-type photos from over the past 8 years that reads like a fever dream or an Alice in Wonderland-type sequence, and Leather Boyz, a deep dive into the gay BDSM culture in Washington, DC. The fourth book will likely be a return to my roots with an emphasis on music photography. All of these other books are black and white. Old Customs is the only one in colour. TPL: What was the process of getting the people in Vama Veche to be open to you photographing them? Can you describe your creative process in your project/book OLD CUSTOMS that you shared in our stories? CS: A lot of photographs in the book are straight street photography style observations, so I basically just shot freely, like I do in any public space situation. Unlike a lot of countries in Europe, Romania seems more open to candid photography. As far as the conceptual mirror shots go, that came about by meeting people through the photography festival I attended and who were open to my ideas. There are a couple of exceptions where I just met people on the beach or in the town and they were willing to be part of the project. What’s interesting is when I share an image of a mirror shot from my phone, people become really intrigued and open up to the idea of being a subject. It helps that you do not see the person’s face so it allows for anonymity as well. TPL: Do you have a favourite quote/lyric/saying that resonates with you the best? CS: Yes I do! The quote is, “In the fields of observation chance favours only the prepared mind.” This was said by Louis Pasteur, the great French biologist, chemist and microbiologist. Even though he is referring to the process of scientific discovery it also applies to the art of photography. How do you prepare your photographic mind? You take classes, you read photo books, you study the masters, etc. Having all of this photographic history and knowledge in the back of your mind while you are out shooting helps you to better identify interesting situations and challenges, things you may miss if you don’t study this sort of background material. Once you get to this point, you can really start to develop your own unique visual identity or voice. ​ ​ Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? CS: A lot of what I am trying to express is really dependent on the project or goal. For example “Old Customs” is partly about expressing the feeling of freedom. However, there are numerous photographic tropes and elements that I often return to or explore. One of these is trying to have the viewer feel as if they too are in the midst of the action. I like to get close and I want the viewer to be part of it. Another is humour, I am a sucker for visual puns and juxtapositions. I think gestures can be very telling. And light is very important. I always try to consider the role and meaning of light (or lack of it) in my images to convey a feeling or an intentional interpretation I want to bestow on the viewer. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CS: I am inspired by many different photographers and artists, from Lee Friedlander and Dawoud Bey to Barbara Kruger and Jeff Wall. All of them have opened my eyes to different approaches and techniques. I often “borrow” or reinterpret ideas from various photographers from time to time depending on my end goals. For my black and white work I am definitely inspired by people like Weegee, Anders Petersen, Larry Fink, Daido Moriyama, and Robert Frank. In my colour work I often look to folks like Joel Sternfeld, Alex Webb, Harry Gruyaert and Ryan McGinley. TPL: Has your style of shooting changed since you first started? CS: I don’t know if it has changed as much as it has been refined. I first gained notice as a music photographer, then as a street photographer and documentarian. I have since moved on to personal diary type work and I am now exploring ideas of conceptual work. I think all of these genres or styles for me still contain the principal elements of my photographic voice. They just get adapted to the genre I am shooting in. If you study the work of Lee Friedlander you will notice his particular viewpoint weaves itself through a wide variety of styles, from street photography to landscapes and nudes. The same holds true for numerous other photographers that have had a long and varied career. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? CS: I have two cameras that I have stuck with throughout the years, mainly for their form and image quality. I have a Leica MP and Ricoh GR II. And, I usually stick with a 35mm or 28mm focal length depending on what I am shooting. Both the Leica and Ricoh are unassuming cameras. I always use my Leica during the day and sometimes at night when I know I am going to be shooting something with purpose. The Ricoh I often take with me at night when I have no real plans. It’s just super handy and can produce fantastic images with the on camera flash aesthetic you see in a lot of Japanese street photography and fashion photography from the 90s and 2000s. As far as focal length goes I use the 35mm during the day and the 28 mm for when I am in close quarters and want to capture as much of the scene as possible. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CS: Once the COVID-19 nightmare is over I’d like to return to shooting and travelling more. This has really been a tough year for me photographically as all of my work involves people. I have been thinking about what I’d like to explore and I have some ideas of what I’d like to pursue. But for now my main goal is working on this current books project. I hope the ground work that I am laying in 2020 with these publications will offer me more opportunities in the future for exhibits, travel and workshops. I also have a few more book ideas that I already have content for. So essentially in five years I hope to be doing more of the same while broadening my photographic practices. TPL: “When I am not out photographing, I (like to)… CS: I love cooking so I am always working on new recipe ideas and food combinations. I also enjoy playing music with friends and neighbours. And, I am a fitness freak to some extent. I exercise almost everyday, whether running or lifting weights." Chris captures the absurd and profound moments in the quotidian, and dives into various subcultures over the course of years in his documentary work. Connect with Chris through the links below and see more of his brilliant projects. VIEW CHRIS'S PORTFOLIO Read OLD CUSTOMS by Chris Website >>> Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography.

STEPHEN LASZLO be inspired Gallery // ARTIST'S STATEMENT // Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. LOCATION San Francisco UNITED STATES CAMERA Leica M10 Monochrom and Leica Q2 Monochrom Reporter CATEGORY fine art street WEBSITE http://stephenlaszlo.com/ @STEPHEN_LASZLO_PHOTOGRAPHY ​ ​ FEATURES // On The Streets of San Francisco

INTERVIEW April 22, 2022 BARE ESSENTIALS ​ Photography by Shira Gold Interview by Melanie Meggs As the Covid-19 pandemic unfolded, the world experienced a collective sense of insecurity and uncertainty. With changes to our everyday lives felt all around us, Vancouver based photographer Shira Gold was driven to examine the psychological and economic effects the pandemic had on consumerism and our behavior. Through her project BARE ESSENTIALS, Shira captures the essence of these fleeting moments, exploring how our relationship with mundane objects has shifted during times of crisis and uncertainty. With a focus on still life and landscapes as metaphors for themes common to us all, Shira’s photographs provide visual respite and a means to focus on intention and simplicity. By deconstructing and digesting the experiences that shaped us during this time, BARE ESSENTIALS shows us how we have adapted in order to survive, as well as holds up a mirror to reflect on the effects that our behaviors have on our environment. In this article for The Pictorial List, Shira takes us back to the beginning of the pandemic to discuss her project and how it has helped her to explore art's intersection with mental health and well-being. “In this series, I created conceptual portraits of utilizing these banal commonplace items made valuable through the threat of scarcity — manipulating their form to visually convey their meteoric metamorphosis into often elusive objects of desire. As they seemingly drift through the frame suspended in light - their beauty is ephemeral, undermined by the realization of their functionality, effect on daily life and the environment. The images take on a spectral and slightly ironic quality, calling attention to the dependence on single use goods, supply chain and the newly emerging consumer hierarchy exposed during the early days of the pandemic. These are the ‘bare essentials’ of our private lives.” IN CONVERSATION WITH SHIRA GOLD THE PICTORIAL LIST: Shira please tell us about yourself? SHIRA GOLD: I was born and raised in Vancouver, Canada, a city surrounded by temperate rainforests, the Pacific Ocean, and incredible mountains. The city is a convergence of multiple cultures, tourism, outdoor adventure and a ton of film-making. Although I have lived in short fits and spurts elsewhere, Vancouver is my home. It’s where I work and live… a constant source of inspiration. TPL: What draws you to photography and art? How did your journey into photography begin? SG: My mother was an administrator at Arts Umbrella a visual and performing arts school for young people and had a great many creatives as friends, so I was raised around art and artists. I attended Arts Umbrella several days a week and explored a variety of art forms. When I was 11, I began taking darkroom photography. After just a few weeks I knew that photography was a way to articulate my internal voice and sensed it would become a vital part of shaping my world. In a word the experience was magical. To have found such a profound form of self-expression at that age felt like the greatest gift imaginable. It can be a bumpy road to growing up and having a camera to use as armour, and also as a means to engage with others, was incredibly important for an introverted extrovert like myself. When I had my camera with me, I felt fearless. In looking back at those early years experimenting with the camera and in post, it’s interesting to see that my aesthetic was already being formed. There were nods to minimalism and negative space, experimentation printing on mixed media, and compositions that involved multiple exposures both in camera in in the darkroom. Today, I am realizing my childhood dream and have a studio on Granville Island (one of the jewels of Vancouver) right across from the front door of Arts Umbrella, the school that introduced me to my future. I share the space with one of the most motivated and positive artists I know, abstract painter Amy Stewart @amystewart…full circle…full heart. TPL: Introduce your series BARE ESSENTIALS to us. How and why did this first manifest for you? What is the full story behind the project? What was the inspiration? SG: The initial months of the pandemic, when we were told to live and work within the confines of our homes, was a period where I took inventory of my life. I used the time to reflect on my priorities as a person and consider the importance of contributing good to the world. When I make art, I most often utilize narratives from my life as a catalyst. “Bare Essentials” was born from reflection on my fears of Covid personally and its impact on the community and the environment. I was incredibly moved by how the often-invisible essential workers faced the risks each day to maintain the supply chains and keep producing to keep food on our shelves in the midst of such chaos. I learned in these moments the importance of recognizing everyone for what they contribute to society. In the spring of 2020, after multiple unsuccessful hunts for ever-elusive essential goods, I humbly turned to online ordering of toilet paper, disposable masks and hand sanitizer. The oversized box arrived with much anticipation. Opening with delight, the relief was short-lived as reality hit – each item carefully wrapped in bubble-wrap, an almost comedic and devastating visual commentary of early pandemic times. I kept the packaging as a reminder of my contribution to the environmental impact of the pandemic and how I succumbed to the culture of fear driven consumption. Reflecting back on these moments informed and shaped the body of work BARE ESSENTIALS. The collection of composite still life imagery in BARE ESSENTIALS interrogates patterns of human behavior and consumerism as they were affected by Covid-19 in North America. Prior to the world being upended by the pandemic, everyday products such as toilet paper, paper towels, tissues, masks and other disposable goods were generally assumed to be in endless supply with little awareness of the complex systems that deliver them to retail. As the world shut down, these basic items suddenly became scarce, panic purchasing ensued causing goods to fly off the shelves often into the homes of those hoarding against imminent disaster. This abrupt shift in purchasing habits laid bare several uncomfortable truths about our culture of consumption while shining a light on the vital work of vulnerable workers tasked with creating manufacturing and distributing items for our basic comfort. In this series, I created conceptual portraits of utilizing these banal commonplace items made valuable through the threat of scarcity — manipulating their form to visually convey their meteoric metamorphosis into often elusive objects of desire. As they seemingly drift through the frame suspended in light - their beauty is ephemeral, undermined by the realization of their functionality, effect on daily life and the environment. The images take on a spectral and slightly ironic quality, calling attention to the dependence on single use goods, supply chain and the newly emerging consumer hierarchy exposed during the early days of the pandemic. These are the ‘bare essentials’ of our private lives. 'Covert' © Shira Gold 'Pulp Dreams' © Shira Gold 'Elusive Pursuit' © Shira Gold 'Undone' © Shira Gold 'Ephemeral Findings' © Shira Gold 'Wavelength' © Shira Gold 'Keepsakes' © Shira Gold 'It's Complicated' © Shira Gold 'Hide' © Shira Gold TPL: Talk to us about your method of working and experimentation before the final image. Did you know exactly what you wanted from the beginning? How long did each image take to create? SG: I have always worked a bit like a ‘mad scientist’, experimenting with new materials and new methods. How I go about realizing the final concept is often a messy and playful experience, which is a juxtaposition from post where everything is very precise and particular. My approach to creating work has never been linear, however the materials I ultimately use to convey the messaging in my series are always clear. I couldn’t guess how long each piece takes but there is generally a lot of revision. I most often work on multiple pieces at a time as I find it helps me not over work individual images and it tend to help me with eye fatigue. I will say that for as much as my art is rooted in minimalism, my work is deceptively time consuming. TPL: Does your project "Bare Essentials" differ from your previous work? Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? SG: BARE ESSENTIALS is a natural progression from my previous series THE FINE ART OF LETTING GO where I used mostly simple materials and found objects - combining them to tell a story. I think each series I have made relies heavily on visual metaphors and most often involves composite images. In “Bare Essentials” I evolved to incorporated scanography (utilizing flatbed scanners) along with traditional photography and light boxes as alternative light sources in my compositions. The materials I used were toilet paper, disposable masks, hand sanitizer, facial tissue, paper towel and plexiglass. I think my art will always be tied to my personal observations and experiences, and the stories flow naturally. I have just recently completed a new series entitled “By a Thread” which also incorporates photography and scanography, and I am gradually developing a series about neurodiversity…a body of work I have been cultivating for the last few years. ​ ​ My art is alert to the discomfort we all face in our daily lives and I want to turn pain and angst on its side to discover the beauty that accompanies our struggles. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? SG: Yukari Chikura’s work is profoundly moving, quiet, and powerful. She created a book entitled “Zaido” based on her documentation of the 1300 year old Japanese ritual by the same name. Yukari lost her father (something I can relate to as I lost my Mother at 26) and he came to her in a dream urging her to go to the village where he had lived a long time ago. The work documents her pilgrimage. I love the work of Ingrid Weyland. Her art focuses on the fragility of the environment in such a beautiful poignant way through creative landscapes. I love how she reimagines traditional landscape photography and find her art to be very thought provoking. My favorite painter is Gordon A. Smith. He is a Canadian modernist painter who lived to 99 years old and made a massive impact on the arts community in Canada. He was very much inspired by British Columbia landscapes and would incorporate collage in some of his series. Gordon A. Smith gave back to the community in many ways, through his creations and through his Marion & Gordon Smith Foundation which supports arts education. TPL: If you could just choose one photographer to photograph with for a day...who would you choose? SG: Photography is a solitary practice for me. Though I adore so many photographers work, I choose to make imagery on my own. 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? How much post-processing do you do? SG: I consider myself an emotive photographer and lean less on the actual equipment and more on synchronizing my eye and camera with my heart and mind, and then see the subject and concept expressed through composition and digital collage in post. I have a very lean camera bag - I shoot with a D800 and often use Nikkor 70-200mm f/2.8 VRII together with my 55mm and 85mm prime lenses. 'Musings' © Shira Gold 'Current Fixations' © Shira Gold 'Torn Sheets' © Shira Gold 'Catch & Release' © Shira Gold 'Four Squares' © Shira Gold 'With or With You' © Shira Gold 'Two Ply' © Shira Gold TPL: Do you have a favourite art inspired quote or saying that resonates with you? SG: “You start blocking out things, and that's a really important part of taking a picture is the ability to isolate what you're - what you're concentrating on.” - Sally Mann Sally Mann was the first photographer I really connected with, and I could go on and on about how formative her work was. Her imagery really captivated me. My mom shared an article about her series “Immediate Family.” And I was transfixed. She has so many wonderful quotes! I love this one because it expresses exactly how I feel. Blocking out the noise is a huge part of my practice. When I am photographing everything around me, the busyness of my mind disappears, and I often am told there is a strong sense of stillness in my photos. For me that’s a great compliment as it means that my practice translates through in my imagery. TPL: Is there any advice that you would give yourself if you started photography all over again? SG: Find your community earlier. I always had the idea that to be an “artist” one needed to be a certain way. As I got older and found my people (I joined a female artist collective Thrive Artist Network and began working with an incredible art consultant Pennylane Shen @dazed.and.confusious) I really came to understand that artists are everyone in their own way. I think I spent too much time concerning myself with the concept of belonging. Feeling like an outsider didn’t hinder me from creating but it did prevent me from showing my work to a greater audience. Today there are so many opportunities to connect virtually, and for shy people such as myself it can feel a little easier to meet people online. Seek out those wonderful resources and find your people…Once you do…It might just change your life like it did mine. TPL: When I am not out photographing, I (like to)… SG: Be with family. I love the small moments, walking in the woods, collecting sea glass with my kids, making meals together. These times are central to who I am. Hanging out with my family and being a part of the everyday is a precious gift. I also adore live music and cannot wait to take in a concert again! Photography became Shira's applied therapy. With each frame she made, Shira began to learn more about herself as well as, what has shaped the person she has become. Thank you Shira for taking the time to share with us your art and inspirations behind it. VIEW SHIRA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. 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THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. 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GABRIELE GENTILE be inspired Gallery // ARTIST'S STATEMENT // I was born in Parma, Italy, where I completed my studies in the humanities and communication fields. I approached digital photography in my thirties, fascinated by the magical power of this artistic medium that is unique in fixing a moment and making it eternal. Time is the focus of my photographic research, the nostalgic time of the past from which to resurrect ancient buildings today in decay, and the time of the future, projected into minimal visions of modern architecture with futuristic forms and abstract colors. Forms, lines, space. Fundamental even in its negative meaning of empty space. In addition to time in space, color. Another key word in my works is colour, not as an adjective or declination of other subjects, but, a subject itself, a feeling and a photographic alphabet. Photography is a mirror of one's inner world; an aesthetic beauty of rules and exceptions. LOCATION Parma ITALY CAMERA Fujifilm XT3 CATEGORY architecture, interior, urban, minimal, abstract WEBSITE http://www.vetroviola.it @VETROVIOLA ​ ​ FEATURES // De-sidera

PICTORIAL STORY June 25, 2021 THIS IS ESSEX ​ Photography and story by Danny Jackson Introduction by Karin Svadlenak Gomez Danny Jackson has captured the sometimes weird and often wonderful everyday lives of residents in Essex in pictures. As a passionate people watcher, in 2019 Danny started working on a portrait series called 'Eccentric Essex'. The Pandemic has given him the opportunity to go through his work, which in turn has led to the development of the series 'This Is Essex', and 'Eccentricity'. Both of these series focus on eccentric and interesting people. Why Eccentrics? Danny has asked himself that question quite a lot, and his main reasoning is that eccentric people seem to live life somewhat differently from the norm, they rebel or let their interests and passions determine how they live their lives. When I was a child growing up in Basildon, a new town in South Essex, in the 80s and 90s, I became aware of a growing stigma attached to my county. The expression 'Essex Girl' had recently found purchase in modern lingo; a derogatory term that was used to describe women who were considered promiscuous or lacking in intellect. It was a stereotype that was compounded by the television programme ‘Birds of a Feather’ with its own archetypal Sharon and Tracy; vacuous characters who bumbled through each episode with dropped Hs and glottal stops galore. The Essex boys fared little better. They found their representative in Harry Enfield’s creation 'Loadsa Money.' Enfield’s depiction of a brash, up and coming man with oodles of money and no accompanying substance or class was a clear comment on the generation of young Essex men who had found lucrative jobs in the nearby city of London. And so it went on…Big Brother, Pop Stars, X factor and more recently TOWIE. Any contestant that hailed from the county of Essex inevitably conformed to the classic stereotypes of the pretty but vapid Essex Girl and the materialistic and loutish Essex Boy. Modern culture has been saturated with the media’s propagation of this unkind and unfair stereotype, but if we look a little deeper then maybe we will find that there’s more to the Essex species than these narrow and restrictive generalisations acknowledge. Essex, as we know it now, has evolved and expanded over the duration of the last hundred years; a relatively short time. Before then it was mostly small farming communities and Victorian seaside towns. But after the Second World War and the devastation of London’s East End, the Labour government created a series of “new towns” across the country and Essex was the birthplace of two such towns: Harlow in North Essex and Basildon in the south. These new towns offered hope and fresh starts to a bruised and beleaguered generation of Eastenders. Massive council estates sprung up, the largest in Europe being one in Dagenham, and many Londoners flocked to Essex to join friends and relatives who had already settled here. Both sets of my grandparents originated from East London, as are my wife’s, and this is the same for the large majority of my friends too. So, to understand the nature of the people of Essex, we must first start with their forebears, the Eastenders. Just as Essex has a stereotype, so too have the people of East London. Ask any one from around the world what a cockney or an Eastender is like and a list of attributes common to this Londoner will be reeled off: speakers of Cockney rhyming slang; consumers of jellied eels and pie and mash; images of The Artful Dodger, Dickens’s famous pickpocket from 'Oliver Twist', or the Kray twins (gangsters of 50s and 60s London) spring to mind. But just as the Essex stereotype is narrow and reductive, so too is this one. It’s important to remember what happened to the East End of London during the Second World War; German planes bombed the area relentlessly during “The Blitz” of 1940. Thousands of homes were bombed out and lives lost. Parents had to evacuate their children to the countryside to live with unknown families. My nan was one of those children, who with her two sisters, was sent to Norfolk and spent the war living with a farmer and his wife. The phrase “Keep Calm and Carry On” can be said to embody the attitude of the nation as a whole, but it seems particularly pertinent to the East End. I believe that going through such hardship and embracing the ‘war-time spirit’ solidified in them those attributes of resilience, determination and kind heartedness and highlighted the importance of family and fun, even in the face of adversity. When broken down, what really is the idea of a ‘wartime spirit’? It’s a commitment to carry on no matter what; a conscious stance of thinking positively when times are hard; to move on and to move forward. So who are the people of Essex now? Essex has a population of about 1.9 million. It borders Suffolk, Cambridgeshire, Hertfordshire, London and Kent. During the census a few years back Castle point in South Essex had the highest percentage in England of people identifying their ethnicity as ‘White British.’ Essex also has a very high percentage of over 65s, much higher than the national average. Much of the densely populated towns are on the coast where many older people go to retire; seaside towns like Southend on Sea and Clacton on Sea being a mix of young families and older residents. Leigh on Sea was recently voted the best place to live in England, with large 1930s family homes close to a classic British high Street and an old fishing village. Many Essex residents are tradesman or office workers who commute up to the City daily via the motorways or railway. And as for that perception of the people of Essex as being less academic; the University of Essex ranked 25th out of 130 in the most recent University League Table. Regardless of where you are in Essex, there are some common strains that seem cemented in the Essex persona like the letters in a stick of rock: the people of Essex have a friendly, warm nature - if workmen enter their home they will immediately be offered cups of tea, and at the end of the job a tip or drink will be given as a thank you; “Get yourself a beer,” they might say. Essex people love a bargain, with a glut of Pound Shops punctuating most high streets and Sunday mornings frequently being spent rifling through the goods at local car boot sales. The people of Essex are: fun loving, neighbourly, sometimes eccentric, cheeky, money driven and confident. They can also drink far too much, burn in the sun far too easily, love a bit of gossip, are occasionally rowdy and sometimes vain. They love their fish and chips and English breakfasts, shop at Lakeside Shopping Centre and in the evenings many flock to Southend amusements or “Peter Pans,’ a theme park by the pier that’s been called Adventure Island for over 20 years but everyone still calls “Peter Pan’s Playground’. The V-festival is a yearly event where some of the biggest names in the music business come to play and for thousands across Essex this a must see event of the summer. Another place that every Essex resident is familiar with is Southend Pier, the longest pleasure pier in the world at 1.34 miles long. Built in 1830, this pier is very much part of Essex’s heritage, in fact to quote Sir John Betjeman (the English Poet and broadcaster), “The pier is Southend, Southend is the Pier.’ © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson So in conclusion, when describing this collection of people…my people… it is clear that the people of Essex have a quirkiness to them, an eccentricity, a cheekiness. They have their own language - a mix of slang and colloquialisms - and they have certain habits that counts them apart from other people, much of this coming from their cockney ancestors. Their warmth and friendliness, family orientated attitude and gritty determinism have resulted in a can-do attitude and work hardy strength that comes from generations of tradesmen, dockworkers and factory workers. As a people they are strong, loyal and neighbourly. This is all a far cry from the crass ‘Essex Lad’ or the promiscuous and unintelligent ‘Essex girls,’ in fact quite the opposite. Maybe in time the idea of who the people of Essex actually are will change and develop and we will finally be allowed to transgress these reductive and disparaging stereotypes, however whatever happens I’m happy to be one of them and I’m proud to be able to photograph them and document the county I love. view Danny's portfolio Read an interview with Danny >>> 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 >>> BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. 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INTERVIEW February 3, 2023 SOHO SHADOWS ​ Photography by Darren Sacks Interview by Melanie Meggs For Darren, photography is far more than just a hobby; it’s a way of life. From his childhood days spent with an old book of photos tucked under his arm to his current work capturing the beauty of the everyday, Darren has been on a lifelong journey in pursuit of capturing moments that will last forever. It all began when he was a young boy, finding a book of photos and marveling at the beauty of what he saw. As he perused through the pages, something stirred in him - a passion for photography. Even then, Darren knew he wanted to freeze time and preserve memories that could be shared and admired for years to come. And so, in an effort to learn more about this art form, he began studying and experimenting, gradually honing his skill until he could finally call himself a photographer. Today, Darren spends his days around central London, seeking out scenes and objects that are often overlooked and helping them to shine in a new light. By combining layers, reflections and creative use of shadow and light, he is able to transform ordinary scenes into striking works of art that draws in viewers. Through his work, Darren is able to share his passion for photography with the world, and continues to strive to find unique ways to capture moments. Join us as we explore Darren’s journey as a photographer. “I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting.” IN CONVERSATION WITH DARREN SACKS THE PICTORIAL LIST: Hello Darren…welcome to The List! Let's start by telling us about yourself. What would you say first drew you to photography? DARREN SACKS: Hi there, thanks for having me. I am originally from Johannesburg, South Africa and moved to London six years ago. I am a UX designer in London. I was initially drawn to photography because I liked being able to document moments that would otherwise be missed. I always remember having a camera with me and wanting to document moments while travelling. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? DS: I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting. When I am taking photos I don't usually include a subjects’ face as the primary focus of a shot. Instead I will look to weave a human element into an abstract scene be that through silhouettes, shadows or some details. I think there is a paradox in my work because I prefer to shoot with longer lenses which quite often would simplify a frame and lead to not having many subjects or objects in one image. Yet, very often I enjoy creating layered, abstract works which have a certain complexity. TPL: Could you tell us what living in London has inspired in your work? What special qualities unique to London influence your street and the way you portray your community? DS: Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. I think street photography really enables me to appreciate the smallest details that would often be overlooked. TPL: When you take pictures, do you usually have a concept in mind of what you want to photograph, or do you let the images just "come to you", or is it both? Please describe your process. DS: The only thing I know when I go photograph is the approximate area I will start for the day. The rest is totally unplanned, and that for me is one of the most enjoyable things - never knowing when or where I’ll get my next shot. I often joke that my directions around London are not great and they really should be as I spend hours and hours walking the streets, but I’m so absorbed in what’s going on around me, I often don’t know where I am. That’s something I really like about street photography, being in the middle of a really busy and noisy place, but being so focused on noticing light or moments that it almost becomes silent. I think there is something really powerful in that. TPL: What is the most rewarding part of being a photographer for you? What are some challenges that you have faced? DS: Photography has taught me patience, sometimes I will revisit a place over time for a shot or stand in one place for a long time to capture that single image. The reward of capturing that moment is a great feeling. Recently, someone I took a photo of, found their image on Instagram and was really happy with it. That was also pretty cool. I have also managed to build a great network through Instagram, and engage with people from all over the world - which I really appreciate. A challenge - sometimes I’ve gone through periods where I’m not getting shots I like or I feel like I’m not growing as a photographer and I suppose it’s about being able to reflect and switch it up to stay motivated and move forward. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? DS: This is a great question - and I am sure all photographers can relate to this. I don’t think it’s possible. I was in Central London the other night without a camera for the first time in a long time and I felt like I could not switch off from being aware of what was going on around me or from looking for a shot. Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. TPL: How do you manage a work/photography balance? DS: I’m fortunate to have a good balance. In the Summer I try to shoot twice a week and in the Winter only once a week. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DS: My favourite photographer and biggest inspiration is Saul Leiter. I’m fascinated by the way he constructed his images. His use of colour, light and layers is incredible. I also enjoy the work of Ernst Haas, William Eggleston, Alex Webb and Joel Meyerowitz to name a few. TPL: If you could just choose one photographer to photograph alongside for a day...who would you choose? And why? DS: It would have to be Saul Leiter. It would be incredible to be able to observe his process while he captured those legendary images. But also having the opportunity to be able to chat with him about his approach to life and photography would be excellent. Leiter was known for being extremely humble, not being a boastful person and always treating others with kindness and respect. 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? Does the equipment you use help you in achieving your vision in your photography? Is there anything on your wishlist? DS: The first camera I held, brought to my eye and released a shutter on was my father’s Yashica FX-7 (I’m not sure there was any film in it - I may have been only 5 at the time but I always wanted to hold that camera and click the shutter). My first camera was a Nikon D90 which I still have. I currently shoot with Fujifilm. I have an X-Pro2 and X-H1 and my everyday lens is the 50mm F2. I do have a 55-200mm which I enjoy using for my layering and reflection work as it provides great flexibility and other options for getting a different perspective for abstract work. I am thinking about upgrading to a newer body for faster autofocus. The Fujifilm X-H2 with the new 56mm F1.2 looks like a great combination. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? DS: I am currently working on some project ideas, but nothing formalised as yet. I’ll update my Instagram and website with news on these. My main photography goal is to continue to grow and evolve as a photographer and continue to try to shoot things in my own way. Having an exhibition and printing a photobook are also part of the future plans. In five years I hope to be able to look back to now and be happy with the growth I’ve made in my work. TPL: “When I am not out photographing, I (like to)… DS: Play tennis, play the guitar and sing.” Darren Sacks' inspiring journey shows us his relationship to his city, discovering the streets with his camera and showing us a different side of Soho in London, capturing the moments and transforming them into works of art. We invite you to join us as we explore more of Darren's photography. VIEW DARREN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. 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