INTERVIEW April 19, 2021 LIFE IN MY CITY ​ Photography by Grzegorz Zukowski Interview by Melanie Meggs In a world filled with chaos and disorder, one street photographer finds solace in expressing himself through his lens. Grzegorz Zukowski, a Polish photographer, has been capturing the essence of everyday life on the streets of his home country for years. His photographs are unique in their composition and subject, capturing moments that are both accidental and deliberate. For Grzegorz, street photography is an opportunity to explore his personal beliefs about life in the city, while also celebrating its beauty and complexity. Through his work, Grzegorz is able to express his love for simplicity, order, peace and convenience, while finding freedom and spontaneity in the unexpected. With each photograph, Grzegorz crafts a story that allows viewers to immerse themselves in his perspective and experiences. Through his lens, he reveals a deeper understanding of the world and offers a glimpse into his personal journey as a street photographer. “Freedom is the strategy of making chance and necessity subordinate to human intention. Freedom is playing against the camera. We, photographers, if we want to show human condition, include what is informative in images, we have to smuggle human intentions into the program that are not predicted by it, force the camera to create the unpredictable, the improbable. I definitely want to say that I photograph to feel free.” IN CONVERSATION WITH GRZEGORZ ZUKOWSKI THE PICTORIAL LIST: Grzegorz please tell us about yourself. How did you become interested in photography? GRZEGORZ ZUKOWSKI: I live in Warsaw, Poland and I was born in this city. I'm now in my thirties. I became interested in photography when I was in my twenties as a student at the University of Warsaw. As I chose the specialisation of reportage and documentary. The lecturer on these workshops was one of the better known photo editors in photographic community in Poland back then, Iza Wojciechowska. Iza encouraged many people to become photographers and I'm very proud to be one of them. I think she had great teaching abilities and her reactions on our photographs and assignments she gave us, and how we talked about photographs were very inspiring. She noticed my photographs and perhaps felt how eager I was to do them, and after one of the workshops we had a short chat about photography. I think even though she simply said to me - "you see the light, so you can photograph and perhaps see what others can't" - reflecting on this, it has meant a lot to me. So I photograph. I also attended photographic studies of Polish Association of Artist-Photographers in Warsaw in 2011-13. After that I grew my interest in street photography, which I think came to me naturally as I was photographing in my spare time. But I think also because I was always interested in observing people in an urban space. I am a graduate of political science and journalism on the University of Warsaw. I was working as a Public Relations Specialist and now I am a Digital and Social Media Specialist with Amnesty International. TPL: Where do you find your inspiration? GZ: Everywhere. Maybe it will be a banal to say, but I just think the inspiration is everywhere and it is hard to tell for me where is that one specific place where I can find it. One finds it definitely a careful observation of oneself. The creative act, whether in photography or in any other creative genre, I think always includes the necessity to look at our own emotions, our personalities, question how we react to the things we interact with and why are we doing something. So the inspiration is our life experience and reflection on it. For example recently, the Women's Strike demonstrations in Warsaw were some great inspiration for me as strong emotions related to them as something unfair and cruel was happening, in another sphere perhaps looking at the paintings of Edward Hopper as they might represent the feelings of loneliness, but overall the most important is constantly discovering and knowing yourself. TPL: What is it that you enjoy about street photography? Explain your technique? What do you want to express through your photography? GZ: When doing photography or street photography in particular, I am drawn by it with a sense of acting freely as an observer, but also as a careful participant that is safe to absorb the emotions of the people around. The camera is my shield. Though Gordon Parks, great photographer, mentioned that for him his camera is his weapon, but I like to add that having a shield is also important. Not only you want to point the camera to something that matters to you, but also it might help you to be present, to protect you from what might be harmful, disturbing for you. What interests me in the frames is the simple composition and the subject - city and the people. When I organized my solo exhibition "Simplicity" in Warsaw in 2016, I wondered about urban life and doing street photographs, because of the contrasts I see. On the one hand you can say that urban life is spontaneous, random and chaotic. Similarly the photographer, when doing street photography, relies on intuition and on catching changeable, decisive moments. On the other hand human, when creating the urban space, is drawn by the need of order, convenience, simplicity. As well the street photographer in the frames arranges the space, catching elements, which are making a coherent composition. I wonder on this contrast – between something accidental, free, intuitive, spontaneous and the need of simplicity, order, peace and convenience. Furthermore, perhaps to put it more personally, one can say the big city determines feelings of loneliness and alienation from other people and what is around us. At the same time the urban life does not make us feel alone, constantly making us connect with others. I think I am searching, when doing photography, for more or less quite scenes, being aware of loneliness, and at the same time doing photographs to feel connected, catching human interactions and creating relations between them each other and the space around them. TPL: What is it like photographing on the streets of Poland? Do you have any favourite spots to go photographing? How has the pandemic affected you and your photography? GZ: I live in Warsaw and mostly I photograph here, from time to time I travel to other cities to spend a day in order to just have a walk and photograph. Of course pandemic and frequent lockdowns and restrictions made me to be more careful about that. At some point a strict lockdown made Warsaw's city center even a desolated, strange place that was very interesting to photograph. Of course usually I'm drawn by the places where people are present frequently, though I can seek scenes that are showing quietness in these busy places. What I think about the cities in Poland is that they're still an urge to modernise and in many ways it is good as it brings some improvements and revitalisation of attractive places. It is also good to see when local communities are taking the initiative to make their space more friendly and convenient. On the other hand there is always something in the past of these cities that is perhaps something more original in a eastern European manner, that contrasts with the need to modernise, in example when looking at the older architecture or sadly at the advertisement chaos. All of that of course can be used in street photographs. I think that by most of the time, even if I'm influenced by the place I am photographing I hope to catch something universal out of it and the context of a place is not as important as the general subject - people and the city. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GZ: When attending photographic studies of Polish Association of Artist-photographers I spent a lot of time photographing in black and white and such great photographers like Henri Cartier-Bresson or Josef Koudelka stayed with me and I always like to get back to the books I have with their photographs. On the other hand there are masters of color like Saul Leiter or Fred Herzog that I really like. And to mention present photographers Nick Turpin's series "On the Night Bus" and Damian Chrobak "Everywhere I look I'm being looked at", also resonates with me. But there are so many great photographers nowadays that there wouldn't be a space here to mention all that I admire. Maybe to emphasize that also other genres are important I recently got back to Edward Hopper's paintings and his sense of urban space and alienation of people in it sparks something in me or even gives me an impression of similarities in how he saw the space and how I photograph. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? GZ: Not so long ago I encountered Vilém Flusser's philosophy of photography and it resonates with me how he underlines freedom as the key idea in photography. Let me quote here a short excerpt from "Towards a Philosophy of Photography": "We observe, all around us, apparatuses of every sort in the process of programming our life through rigid automation (...)." In short: Everything is becoming absurd. So where is there room for human freedom? Then we discover people who can perhaps answer this question: "photographers. (...) They are already, in miniature, people of the apparatus future. Their acts are programmed by the camera; they play with symbols; they are active in the 'tertiary sector', interested in information; they create things without value. In spite of this they consider their activity to be anything but absurd and think that they are acting freely. The task of the philosophy of photography is to question photographers about freedom, to probe their practice in the pursuit of freedom(...)." In short: Freedom is the strategy of making chance and necessity subordinate to human intention. Freedom is playing against the camera. These are words from 1980s. I think they're even more up to date now in even more technologised social life, where we are not creating images but we are being programmed by the them constantly. We, photographers, if we want to show human condition, include what is informative in images, we have to smuggle human intentions into the program that are not predicted by it, force the camera to create the unpredictable, the improbable. I definitely want to say that I photograph to feel free. What interests me in the frames is the simple composition and the subject - city and the people. 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? GZ: I usually keep my equipment light and I limit myself to one lens. From some time I've been doing street photographs with a mirrorless camera and with a fixed 35mm manual lens. That just suits me fine. When I'm out on demonstrations and events I change to a lens that gives me wide angle but with a zoom, like 18-55mm. I rarely use flash, but if yes, only on events, like demonstrations. I think I have a need to keep it simple and not to be distracted by sophisticated gear. In limiting yourself you might find an easier way of achieving what you want or what you need. TPL: When you go out photographing, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? GZ: What there is at the beginning might be only an idea of a short walk. On other occasions I plan carefully where to go, from one point of a city to another, than to another and then elsewhere. Of course it happens that I'm asked to photograph someone or I'm photographing a specific event, so I can prepare myself more carefully by writing down what I want to get out of it. But all of these are more preparing myself to what is unexpected, that I can't foresee, while more important it seems is the road or the journey and not the goal itself. I like to think when photographing that I'm turning my mind to meditative kind a state, having a flow, that helps to calm down, observe, be careful, to absorb and be present. Actually what comes afterwards, when selecting and editing the photographs I've made, is the stage when a concept thinking happens. Because the photographs in this moment can reveal to me some emotions I might also have to what I photographed and a stream of thoughts and loose associations might occur and all of that can lead to decisions what photographs to publish, what to put in black and white and what in color, what might go in a series of some kind or what to leave for a while. TPL: Have you ever been involved in the creative world before photography? GZ: No, though when being a student I thought that writing will be a genre that I'll be improving and by this way trying to express myself. But discovering photography changed that. Though I like comparing these two things even if they seem completely different, yet we often put them together when illustrating a text with an image, or often say that one image can say thousands of words. I think Elliot Erwitt put it right, when he mentioned that a good photograph is when you want to get back to it over and over again like to a catchy line of a great poem. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? GZ: The street photography is a kind of a constant project for me, a stream of consciousness, that sometimes reveal to me some ideas. Like in 2016 I organized my solo exhibition titled "Simplicity" with some of my black and white photographs. I hope that in the future I'll publish them in some form in a concept, idea, that perhaps is evolving slowly, even when answering your questions in this interview. Meanwhile it seems that the situation in Poland will be a source of photographs, when social and political situation makes people to go out on to the streets, protest and organise in movements. That is something that also draws my attention and I want to be part of it, definitely as a careful observer. The people and their emotions is something that I'll try to turn my attention more to as I like to portray people and perhaps I do it in most of the times candidly anyway, but I think I'll try to improve posed photography. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GZ: Perhaps nothing specific at this very moment, but with a stack of a lot of material to do something with. The women's strike protests in Poland and in general demonstrations throughout recent years has brought so many interesting stories, emotions to tell, that I will think about it more and still try to document it. TPL: When I am not out photographing, I (like to)… GZ: To be inspired, I like to have a cup of a good coffee, good read, good movie series to watch and great music to listen to and perhaps that all comes down to a banal, that I like to think the world is beautiful. Grzegorz Zukowski's street photography is a unique and powerful form of self expression. His eye for composition and his desire to capture something accidental, free, intuitive and spontaneous is evident in his work. By combining simplicity, order, peace and convenience, he creates a reflection on his own personal thoughts about life in the city. To view more of Grzegorz's stunning photography and gain insight into his personal reflections on city life, use the links below. VIEW GRZEGORZ'S PORTFOLIO 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 January 20, 2023 THE STREET LAMP ​ Photography by Fabio Catanzaro Interview by Melanie Meggs Helping to keep the streets safe, the street lamps' presence usually goes unnoticed by many. Those tall metal constructions illuminate at night and watch over the landscape during the day. In his project THE STREET LAMP, Fabio Catanzaro focuses on the street lamp, predominant in the viewpoint, where its aesthetics outweighs its utility. And in the concept of the landscape, they are part of it, they are fully embedded in any urban context. Fabio is a photographer born and raised in Venice, Italy. His artistic research is developed within the context of minimalism and urban details, borrowing his motifs from everyday life, transforming them into compositional frames of beauty and inspiration. We had the pleasure to interview Fabio where we talk to him about his photography journey so far. “Simplicity is the ultimate sophistication.” - LEONARDO DA VINCI IN CONVERSATION WITH FABIO CATANZARO THE PICTORIAL LIST: Welcome to The List Fabio! What would you say first drew you to photography? FABIO CATANZARO: I do my work mainly in and around Venice. I would look over the fashion images in the magazines and on websites. I used to look through magazines, not really interested in the articles but the pictures. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? FC: I like to describe my approach and work as an attempt to compose aesthetically beautiful photographs. Photography opened up my eyes to the beauty of the world around me. My approach to photography began a long time ago during my travels and the only thing I've since discovered is that I have an insatiable inquisitive and observational mindset to things and subjects. TPL: What inspired the concept for your project THE STREET LAMP? How did you approach producing the series? Is it an ongoing project? FC: I realised I had a large collection of street lamp pictures of any shape and size...so why not make it a project?! TPL: Where do you find your inspiration to create? FC: While many artists and photographers can teach me, my vision is determined by my own inner drive to observe and capture the world in front of me, as it is. The pictures are the squares to really see what a thing looks like. their details, their shapes. I have always tried to see the beauty in everyday things. TPL: What is the most rewarding part of being a photographer for you? What are some challenges that you have faced as a photographer? FC: It’s all about the chance to capture unique moments and images. I have a great opportunity to take a fine look at the world around me. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? FC: Yes it is possible. That moment is when I sleep. Actually no, even in dreams I have something to capture. 🙂 My vision is determined by my own inner drive to observe and capture the world in front of me, as it is. TPL: How do you educate yourself to grow in your photography? FC: Practice and looking at paintings, photographs in the books, at the museums, art and photo exhibitions. You have to constantly train your eye to see. As you gain experience, you may see more in the same scene, than you saw the first time. TPL: How do you manage a work and photography balance? FC: By focusing on one task at a time, be it editing, emails or returning phone calls. One thing at time is the key. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? FC: Franco Fontana is my favourite photographer. The reason is mainly that he never dwells too much on the technical side of making pictures, but always digs deep into emotions, feelings, and learning how to see things. 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? What is on your wishlist? FC: I remember it was a Polaroid at the age of 10. At the moment I use a Canon EOS550 with these two lenses – 75-300 mm and 18-200mm. No I don't think the equipment plays a part in achieving your vision, I think that a camera is just a device. It’s a well-trained eye that makes the photo unique. On my wishlist there is professional mirrorless. 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? FC: One of the projects that I would like to work on is making an album cover for a music artist and publishing my own book. This last one is in the process. So much has changed in just one year, it's hard to predict five. I like to keep my goals simple and real, I expect I’ll be into some genre of photography I haven’t tried yet like commercials or movies. TPL: “When I am not out photographing, I (like to)… FC: I do a lot of non-photography based activities that I find just as satisfying as photography. I’ll mention the most common: I read books, I spend time working through different activities such as fitness and staying healthy." Fabio Catanzaro finds the beauty in the everyday. The team at The Pictorial List would like to thank Fabio for sharing his series of photographs focusing on the aesthetics of the street lamp in its urban context. Explore more of Fabio's work on the website. VIEW FABIO'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 March 17, 2023 CALL AND RESPONSE ​ Photography by Emily Passino, Vin Sharma and Lisa Jayce Interview by Karen Ghostlaw Pomarico Can three women at different stages in life from different cultural backgrounds create cohesive visual conversations, each contributing prompts which the others build upon? Can this process forge pathways forward personally and more broadly? While The Blue Hour Photo Collaborative — created with a nod to improvisational jazz and wide-open possibilities — is only two years old, their collaboration feels far older, deeper. The women of The Blue Hour met in the Close to Home Photo Salon in the height of the pandemic, a period which proved to be both transitional and transformative for them. After admiring each other’s work and thoughts in that virtual community, they recognized they felt a kinship, a shared interest in examining time — seasons, transitions, hours of the day, memory, the arc of life — which they wanted to explore artistically. Their body of work CALL AND RESPONSE creates pictorial conversations through the device of triptychs. Each triptych includes one photograph from each photographer and is not complete until all three agree the story has been discovered. The project stems from the calls these women hear within and around — the human cries to be seen and heard, lost and found, and ultimately to be connected with one another. Whether linked by subject, compositional elements, or mysterious impulses, each visual exchange is intended to evoke an idea — an emotion — to create a melody of sorts that is more than each photo itself might call to mind. “… a single photograph, it’s provocative, it’s an idea, but if you can do two or three, maybe you make that a phrase, and if you can do it in ten, maybe it’s a sentence …. Relations among photographs constitute a visual grammar or a musical piece … like an essay ….” - Dorothea Lange “This is the power of gathering: it inspires us, delightfully, to be more hopeful, more joyful, more thoughtful: in a word, more alive.” - Alice Water IN CONVERSATION WITH THE BLUE HOUR PHOTO COLLABORATIVE THE PICTORIAL LIST: Welcome to The List! Please tell us about yourselves and the full story behind the project? What was the inspiration? BLUE HOUR: As Blue Hour photographers, we bring a range of experiences and practices to this group endeavor. Lisa Jayce, based in New York City, makes images exploring what feels unresolved within her heart and mind, the lives of others, and the natural world. Emily Passino, based in Nashville, Tennessee, considers the nature of contemporary culture primarily through shooting social landscapes. And Vin Sharma, based in Brooklyn, NY, explores the connectivity of our intimate lives, visually displaying our effect on each other and the world around us. Not only has The Blue Hour become a source of creativity for us, but it has also forged a friendship grounded in our shared love of photography, imagination, and expression. We continually draw energy from our dialogues about the relationships between images and look forward, as Vin says, towards “tumbling gently” into 2023 to see where this all may lead. Our Blue Hour collaboration began in 2021; we were all feeling restless and decided to unite for a small, undefined, long-distance creative project. During our first marathon Zoom session, we discussed the pandemic’s influence on daily rhythms, how amorphous time had become, and how it felt as if we were living in a worldwide liminal space. Building upon these ideas, we noted we were at different points in the bend of life, wondering how that, too, affected the sense of who we were. We agreed we could use our photographs to delve into these concepts. Familiar with virtual ways to keep in touch, we began with a small exercise and built three separate triptychs, starting with a prompt photo from each one of us that might have some connection with time. The process itself was astonishingly gratifying! And just as we were experiencing the synergy of collaborative creation, SHOTS Magazine released a Call for Entry with the theme, “Collaboration.” It seemed a sign straight from the universe: we were meant to be doing this! As The Blue Hour, we continued to build triptychs, submitted a few, had four selected – and proceeded to make more. We also came to realize that the number THREE itself has a spiritual, religious aspect to it in virtually every culture, which we began to sense ourselves. It is not an exaggeration to say that the project feeds our souls. There is the inventive aspect, but also the connections between ideas, feelings, and people. So what we thought of as a short-term exercise has grown into a commitment to continue exploring the process and ideas together. TPL: How did you each get your start in photography? BH: Vin has always been drawn to the visual arts. Initially she studied Architecture and had a 35mm Canon as a teenager for her family trips back to India. Finally in her 40s, Vin went back to her first love of photography and began to take it more seriously. Emily has been interested in photography since working with her father in his darkroom while growing up, but it wasn’t until her 60s when she first learned about street photography that she began being more deliberate about image making—learning from local photographers, visiting galleries and museums, and studying and exploring. Lisa had no childhood camera but has appreciated the arts and creativity for as long as she can recall. It was actually the pandemic that brought her to photography—at a friend’s suggestion, she began using her iPhone’s camera while walking as meditation, and that got her hooked. Hungry to learn more, she read up on composition, feel, and tone and studied photographs, experiencing a breakthrough emotionally—now flourishing, rather than languishing. TPL: Talk to us about your individual photography practices and how they are the same or different from what you do together? BH: In many ways, our individual practices are different from the work we do together, though the processes are definitely linked. When working alone, our approach boils down to shooting what catches our eye or heart — following our curiosity — then selecting and processing the photos in our own style, telling our own personal stories. As individuals, we have more focus and a longer thread of a story, or so it seems at this point. By contrast, the collaborative work includes a wider range of possibilities and feels like a looser, more open-ended form of discovery. The magic comes when we start our “call and response” Blue Hour sessions. In music, when a musician offers a phrase and another musician answers — perhaps with a question themselves — there can be a kind of musical conversation moving the song along in ways that can be unexpected and purely satisfying. We experience a similar delight when developing these visual sentences, these triptychs. The heart of our pleasure is bringing photos we have created individually (recent as well as archived ones), and together, finding those that work in concert. During our triptych-making process, at times, the response photos have led to entirely different sequences. Often the initial image has wound up in the middle or at the end of the arrangement. We’re convinced that the “naming” of the triptychs helps us see what they are about. All of this is instructive. Our work together has felt like a gift, schooling us again and again in uncertainty, which of course is easier to reflect on than to live through. Over time, we have learned to honor the process we call “creative limbo” in which we try not to despair if we cannot find an immediate response to one another’s photos. Instead, we attempt to lean in and open further, waiting for a message to reveal itself. We would each say that the Blue Hour process has affected our own individual processes so that we now slow down with our own work a bit more – there is more trusting, feeling, and watching to see what potentials lie there too. 'Festive Remains' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Welcome To America' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Stay A While' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'In Repose' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Nature of Reconciliation' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Network of Life' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Open Invitation' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Truth In Light' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Interlude' © The Blue Hour Photo Collaborative >>> click on image to enlarge TPL: What is it that you love most about your collaboration? BH: Let’s start with our similar sensibility, which comes alive during and between meetings. Beyond our photos, we share recent readings — books, poems, and articles — exhibits we’ve seen, music we’re listening to, and morsels of goodness we’ve encountered in the world, all of which raise our collective spirits. It is these exchanges that prime us for linking various images and seeing new pathways of thought as we reimagine how our own work fits into a larger whole. Through experimentation, we discover how our individual images might connect beyond subject matter—perhaps by shape, lines, mood, tempo, light. Often, a photo’s “meaning” or identity can shift, assuming beautiful new forms when placed in combination with other photos. As for the technical side, we have each grown through the process as well, picking up new approaches for harmonizing color, cropping, and playing with different aspect ratios. Most refreshing are the dynamics at play within our creative process — fluidity and trust, openness, deep listening, and mindfulness of the other come to mind—attitudes which feel sadly absent in today’s polarized climate. As Blue Hour members, we strive for consensus and honest communication when making decisions about images to include and sequences—consensus in the Quakerly sense, which doesn’t mean “unanimous” so much as it means if two of us feel something is “right,” our third partner can either go along, or dive deeper until there’s a mutual understanding. If none emerges, we take time or agree to place images in “future pools,” paused but not forgotten. TPL: Do you have any favorite artists or photographers you would like to share with us and the reason for their significance? BH: Pardon our long list, but the following photographers are all essential to mention: Sally Mann, Cig Harvey, Dayanita Singh, Doug Beasley, Vivian Maier, Sandra Cattaneo Adorno, Rebecca Norris Webb, and Graciela Iturbide! Each of these visual artists, in their own manner, examines the emotional aspects of people and places, creating highly evocative images, which we admire. The photos we tend to favor include explicit and implied narratives — elements that appeal to our interest in storytelling — attention to the details of everyday existence, and an interplay between the magic and realities of life. ​ ​ We are so thankful to have met one another and for the ever-expanding insights that have resulted. TPL: If you could just choose one photographer to shoot alongside for a day, who would you choose? And why? BH: We can’t identify any specific person but certainly someone open to thoughtful conversations about images. While at this point, we each prefer photographing on our own — following our own vision and going at our own pace—we would be honored and humbled to sit alongside any of the above photographers, perhaps in a workshop to raise questions and receive feedback. TPL: What cameras do you each use now? Does the equipment you use help you in achieving your vision in your photography? Vin – Canon R-5; Lisa - Fujifilm X100F; Emily - Fujifilm XE2S. These are our primary cameras, though we also each use our iPhones and have other cameras we may pull out. It’s entirely possible that these cameras help us achieve our vision, but none of us is particularly tech-oriented. ​ ​ 'Disclosure' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Sweet Acceptance' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'After The Rain' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Coming and Going' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Lushness' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Openings' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Colours Of The Not Yet' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'World On Fire' © The Blue Hour Photography Collaborative >>> click on image to enlarge ​ ​ What are some of your goals as a photography collaboration? Where do you hope to see the Blue Hour in five years? We do have one concrete goal — to take our triptychs on the road and engage with others who are working in groups or who might be sympathetic to the process. We’d love to exchange ideas about the many ways to approach collaboration and to keep learning! In general, despite the tired phrasing, it is the journey we are most invested in. Our biggest hope is that our collaboration evolves on its own in ways that continue to feel positive and nurturing. Perhaps most profoundly, our collaboration has allowed us to see the power of listening and its potential for promise through precarity and peril as we navigate life on planet Earth. Thus in five years we want to have explored further ways to collaborate, to share with others what we are learning, and to continue supporting our own individual and collective journeys. ​ ​ The Blue Hour Collaborative has given The Pictorial List a unique opportunity to see how a group of artists can come together to form one body and mind to create a cohesive body of work. Lisa Jayce, Emily Passino, and Vin Sharma have found a symbiotic relationship, collectively creating a beautiful series of triptychs. Each photographer remains anonymous in the finished triptych, creating a powerful bond and unified finished work. We are grateful for The Blue Hour Collaborative’s perspective and thank them for sharing their inspiring photography with us. Follow them on and watch their project as it develops. VIEW BLUE HOUR'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.

JASON PHANG be inspired Gallery // ARTIST STATEMENT // Some photographers are content to sit behind the camera and observe the world go by. Others use the camera as a stage to engage with the world, shouting out loud, sharing their vision. I tend to be the former. My home loan paying job requires me to step up and fully engage with the world. I use my photography as a way to regain my zen, drawing strength from the people I observe through the view finder. LOCATION Auckland NEW ZEALAND CAMERA Fujifilm X-T30 CATEGORY street WEBSITE https://goodintentions.nz/ @JASEINNZ ​ ​ FEATURES // Finding His Zen

INTERVIEW November 12, 2021 LANDSCAPE OF MY ALWAYS ​ Photography and story by Francesco Mercadante Interview by Melanie Meggs The passion for photography has accompanied Francesco Mercadante's life since he was about nine years old when he was gifted a blue 'Rondinella' bicycle and a Kodak Instamatic from his father. Both items were inseparable friends on his many solitary escapes over the countryside of his home in Calabria in Italy to capture "glances" and to imagine and dream, marking Francesco's "passage of time". His love for photography and nature, that, still today, he goes looking for, and as he states, she (Mother Nature) calls me amongst the country paths and the expanses of meadows, skies, trees, streams and old abandoned houses. To Francesco they are harmony, landscape architecture..."furniture of the Earth"...fragments of human life. With stories to tell, these landscapes evoke atmosphere and an aura that intimately breathes. Francesco rediscovers those moments from his childhood when he went back to his hometown in his project LANDSCAPES OF MY ALWAYS. “I started this project one summer afternoon. In the twilight hours I picked up my camera and set off. Driven by the nostalgia of when, as a boy, I used to ride my Moped along the road to the sea. Forty years have passed and now, and seeing that landscape again, it is as if I had found another part of myself, still there, waiting for me. It is the work of my heart and the memory of my childhood. So I started photographing the landscape of my hometown, Cutro, where I was born in Calabria. Here the hills become low and, especially in summer, thanks to their yellowish colour (due to the cultivation of wheat), they resemble the scenery of desert dunes. Pier Paolo Pasolini decided to shoot some scenes of the film 'The Gospel According to St. Matthews in this landscape. Driven by nostalgia when, as a boy, I used to ride my bicycle along the road to the sea. I used to cross the landscape of mine while travelling in the truck with my father when he took me with him to load the onions that were used for the sale of his trade in the markets. Then, as a child, I admired these yellow and sunlit dunes from the finerino and from there, a few kilometres away, the view would open to a blue sea. My project gave me great opportunity to relive my most intimate memories, to walk and photograph those places I had always seen through a window. I have rediscovered my roots.” My roots My roots are firm even if they are far from their own land. My roots are like olive wood with outstretched arms almost wanting to caress the red and clayey earth that welcomes them. My roots smell of tufa dust of almond tree in bloom of cultivated gardens. History and perfumes come together in my land, releasing sensations of peace and tranquility, where the sea and the sky they marry in a single color. In the countryside the ancient beams look out like great ladies there time stopped I walk in my land, every time it's a surprise, I find myself I smile and rejoice in so much beauty. - Alda Merini IN CONVERSATION WITH FRANCESCO MERCADANTE THE PICTORIAL LIST: Francesco please describe that memorable moment when you were nine and gifted a blue bicycle and a Kodak Instamatic. Can you tell us a bit more about your beginning in photography? Talk to us about the evolution of your photography. FRANCESCO MERCADANTE: I took my first photograph when I was nine: it was a family birthday, I was entrusted with a camera for family group shooting. I remember there was an ovation when they developed photography on paper; everyone happy and from that moment I fell in love with the photographic object. On my birthday my father gave me a blue bicycle to share with my younger brother and a Kodak Instamatic camera. The passion for photography accompanies me up to the age of 20 taking instinctive photos in moments of going out with friends or on birthdays, and in the days of Easter Monday and mid-August holidays. In the following years, painting takes the place of photography and I begin to paint trying to represent what I photographed. At the age of 40 I took up photography again but this time no longer by instinct but an emotional photograph. My projects always arise from a lived emotion, an emotion that comes to me listening to a song, watching a documentary, or along an old road, the passage of a sailboat, the whistle of a train, the arrival of seagulls at sunset, the muted light reflecting through the leaves of the trees. TPL: Talk to us about your projects. What is it that inspires you to be a visual storyteller? What have been some of your most memorable moments? FM: It often happened to me to run out when I photographed instinctively because I went out without a precise destination and photographed everything I saw and without realising it I found myself with 500 shots and I could not compose a project, but only single shots. Over the years I have acquired a lot of experience and awareness. Today I work with more serenity because before going out to take pictures I have to have an idea in my head, a reason that pushes me to often photograph an emotion. TPL: What are some tips or advice you would give yourself if you started photography all over again? FM: If I started photographing all over again, I would suggest myself to listen to the heart more and let go of the emotions. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance FM: My favorite photographer is Ernst Haas his art his photographs are a source of great inspiration that help me to search and experiment both in photography and in painting_ TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? FM: Having to choose a photographer to photograph with him for a day, I would choose Ernst Haas because from him and with his creativity I could receive a strong emotion. ​ ​ My projects always arise from a lived emotion, an emotion that comes to me listening to a song, watching a documentary, or along an old road, the passage of a sailboat, the whistle of a train, the arrival of seagulls at sunset, the muted light reflecting through the leaves of the trees. TPL: When you are out shooting - how much of it is instinctual versus planned? FM: As I mentioned before, instinctive photography no longer belongs to me today I only photograph if I have an interest in something that I have already planned before the release. 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? FM: I think that to achieve a good photograph you don't need a camera and very expensive lenses. I use a Canon EOS 6D mark II and a telephoto lens with a focal length of 28-300 mm. ​ ​ TPL: Are there any special projects you are currently working on that you would like to let everyone know about? FM: I am working on a project that I photographed on a summer night, it is always an intimate work linked to my memories and my roots that I really care about. The title of the project is "Memories Cutro" will be released shortly, however, by the end of 2021. TPL: "When I am not out photographing, I (like to)… FM: When I'm not out taking pictures I like to read, or listen to music." ​ ​ Driven by nostalgia, Francesco returns to photograph the landscape where he was born. We thank Francesco for the opportunity to share with us his journey of rediscovering his roots. VIEW FRANCESCO'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 September 14, 2020 HAUPTBAHNOF ​ Photography by Paul Kessel Interview by Melanie Meggs As we navigate through the chaos of everyday life, it's easy to become consumed by the hustle and bustle of our surroundings. Yet, despite all this distraction, there are those who can still find beauty in the noise. Paul Kessel is one of those people. A street photographer from New York City, Paul has been capturing candid moments around the world for over thirteen years. With a background in clinical psychology, psychoanalysis and university teaching, Paul began his journey into photography just before his 70th birthday, enrolling in classes at The International Center of Photography. Now thirteen years later, the street photographer from New York City has won a number of awards, had his work exhibited in over eighty group showings, and has had four solo shows. Paul's style has evolved from candid portraits of people to capturing candid street scenes in motion. He compares his passion for street photography to playing a sport - “usually requiring a warm-up period, then some momentum is established, until finally a good shot is captured amongst many forgettable ones.” Due to the pandemic, Paul's days of shooting on the streets have been put on hold for now. To satisfy his 'itchy shooting finger', he has done a self-portrait project at home. However, he is eagerly waiting to get back out shooting once more. In this interview we will be exploring Paul's photography series 'Hauptbahnhof' about the main train station in Frankfurt, Germany. This train station is a major hub for travel in Europe, and Paul has spent a lot of time there and created some personally meaningful photographs. All his photographs are candid, each telling a story, isolating his subject among the chaos of the main train station. Come join Paul on this journey as we explore the beauty of capturing moments in motion. “Over the past fifty years, I have been to Frankfurt Germany almost yearly and I also lived in the city for two years. Of course, over all of that time, many life events occurred including highly emotional ones, particularly divorce and child custody issues. Countless times, I have passed through the main train station. It is called 'Hauptbahnof'. After I began candid street photography, about eight years ago, I became more aware of light and this venue has an interesting skylight. Because of that, I went there to photograph. I had no project in mind beyond photographing people that interested me and doing it fairly close up. Eventually, I had enough photos to think of it as a project.” IN CONVERSATION WITH PAUL KESSEL THE PICTORIAL LIST: Paul, what drew you to photography or is it something that you were always interested in? PAUL KESSEL: I always owned a camera and had a latent interest in photography. However, it was put away in a drawer almost all of the time. There were relatively infrequent periods of photographing until I decided to pursue it seriously in 2008. The primary reason I began, is that my daughter started a career in photography at age 23. Her mother had an MFA degree in video and prior to her video interest, she studied photography in college and photographed my daughter a lot. My daughter eventually became a prop stylist and frequently works with photographers. TPL: You mentioned to us that you photograph unnoticed. How did you do go about achieving this? PK: My camera has a flip down back screen, and I looked down at it after I spotted a potential subject walking through or standing in decent light. I pretended I was fiddling with the camera. ​ ​ TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? PK: The aesthetics of light and composition coupled with a lifetime fascination of people and how they present themselves is sufficient. In more recent years, I have become more interested in how the photograph will look than the people in the photograph. Occasionally, a social issue may be part of what I am trying to express. TPL: What has been the best advice/criticism you have ever received...that you have learned from? PK: 1. Appreciate the friendships derived from photography and don’t be so hard on myself regarding outcome. 2. Fifty really good pictures in a lifetime is success. ​ ​ I am inspired by my enjoyment of the process, the quest for the elusive photograph, the sense of belonging to a community of street photographers, friendships with others pursuing the same goals as myself, and probably the hope of making enough good pictures to have a published book. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? PK: There are many photographers whom I admire. This includes those in the history of photography, teachers, and contemporaries. I will not attempt to mention them all. I don’t dare mention contemporaries as I don’t want to be in the position of excluding some of my friends. A good number of them are becoming well known as street photographers. Most certainly, Cartier-Bresson, Winogrand, and Meyerowitz have been big influences. Alex Webb and Constantine Manos have been as well. I mention the latter two separately because the way Webb includes multiple layers and multiple activities in some of his amazing compositions and how Manos fills the frame are both inspiring and frustrating. I go after it, but I can’t do it. The quest keeps me going. TPL: Do you prefer to photograph alone or with friends? PK: I usually shoot alone. However, I find that some of my better photographs come when shooting with others. I function better with companionship. I find that this is true for me among many activities. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? PK: I am often out for many hours at a time and I do not want to be burdened by heavy equipment. All I carry is one camera with one prime lens. I prefer a full frame camera. That preference increases the weight a bit. I either use a Sony A9II mirrorless camera or a Leica M10. With both I use a 35mm lens. If I know that I will be shooting in a setting with a dense crowd, I use a 28mm lens. The cameras in this project were a Sony A7s in the beginning followed by a Sony A9. All pictures were made with a 35mm lens. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PK: Because of the current pandemic, I have been doing self-portraits at home. I yearn to return to the street. For me, projects are rarely conceptualized. Instead, projects emerge from the edit of random photographs. It may be true that at times I do have a series in mind as I shoot as well. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PK: My goal is to make about twenty more good pictures. I believe that I currently have about thirty. My criteria for “good” is high. It is easy to get “OK” photos. I don’t mean that. I am not referring to candid portraits. My interest is now more complex street scenes involving people. I am hoping a book can come out of it. At the age of eighty-three, I am not in a position to worry or plan for five years from now. TPL: “When I am not out photographing, I (like to)… PK: Be with family.” Paul Kessel's photographic journey is a testament to the power of creativity and the ability of the human spirit to turn any age into an opportunity to create new art. Paul's images of the Frankfurt Hauptbahnhof capture the beauty and complexity of life in layers. His style of street photography is both playful and profound, and his images are a great reminder of the importance of capturing moments that can be remembered and shared for years to come. If you would like to see more of Paul Kessel's photographs, please visit his website or Instagram page. VIEW PAUL'S PORTFOLIO Paul's 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.

IBI GOWON be inspired Gallery // ARTIST STATEMENT // I'm an artist at heart, or rather someone who would like to be one! I work in the international development sphere, which gives me plenty of opportunity to take photographs. My photography took off in 2016, whilst I was doing project work in Nigeria. I was able to capture images that truly reflected the countries I worked in, and not the stereotypical images that were peddled in the media. My style is mostly street and predominantly people too. I have a mix of my London life and fabulous people I meet in Africa. There’s something about capturing people in their environment that I really enjoy. It wasn’t easy to begin with and, it took me a while to be brave enough to move on closer to take the shot, as well as, being able to approach people and take their portraits. Fortunately, I had a lot of good advisers at hand! LOCATION London UNITED KINGDOM CAMERA Sony A7iii, Fujifilm X100F CATEGORY street, documentary, portrait ​ @IBI.GOWON.PHOTOGRAPHY ​ ​ FEATURES // Shot From the Heart Shop Back in Time

ARTURO CAÑEDO be inspired Gallery // ARTIST STATEMENT // I graduated in economics, studied painting and drawing at the Art Museum of Lima. My economic training integrated with photography allows me to understand the aesthetics and the human condition that people project. I work independently with different national and international non-government organisations. I have participated in exhibitions in Dubai, Italy, India and Peru. I have been awarded in national competitions and was a finalist in Photography Salons of France, the United States, and Peru. DOWNTOWN LIMA PROJECT: On the basis of my photographic intention, which is: the search for the relationship of the individual within his urban environment, whether from the social, economic, religious, political, racial, etc. point of view, and all those ethnographic elements that allow us to identify this process of linking and identifying the individual and the city to which he belongs. For this reason, it is precisely this search that is posed in the images that I present, through the pretext of using the camera; flashes; color filter; slow speed technique combined with the dynamics and technique of street photography. This project started 6 years ago in the city of Lima, a city that lives at every moment, and its characters are combined in different facets, ages, colors, cultures, countries, etc. It is worth mentioning that my project started with black and white photography, then the use of the cell phone and now using artificial lighting techniques. DOWNTOWN LIMA tries to portray in a particular way on the basis of the above, the main subject of our city: OURSELVES. LOCATION Lima PERU CAMERA Nikon, smart phone CATEGORY documentary, street WEBSITE https://www.arturocanedo.com/ @ARTUROCANEDO @ARTUROCANEDOIMAGENES ​ FEATURES // Downtown Lima

PICTORIAL STORY April 5, 2024 A WORLD WITHIN REACH ​ Photography and story by Pedro Vidal Introduction by Melanie Meggs Pedro Vidal was born in Brazil and is now based in Barcelona, Spain. He is known for his portraiture and documentary photography. Growing up, Pedro was always connected to art. But it wasn't until his journey into photography later in his life, that he truly found a way to express his creativity and connect with the world around him. For him, photography is a way to capture the splendor of life, a gateway to places and experiences that would have otherwise been out of reach. With a degree in International Relations, Pedro had a valuable foundation. However, his true passion for photography drove him to pursue a postgraduate degree in the field. His work has been published and exhibited in publications such as El Periódico and National Geographic Brazil, as well as at the Photogenic Festival. Pedro's latest project focuses on a society that has found what is most human about us: our sense of community. As Pedro sees it, despite facing material limitations and challenges, the Cuban people have managed to create a welcoming and supportive society, showing us a better way to live and coexist. Pedro's photographs capture the warmth and affection that are the foundation of this society. The project had a strong impact on Pedro, not just in terms of how things looked, but also how they felt. He firmly believes that the true essence of photography lies in its ability to capture memories. Through this project, he feels he has just scratched the surface of what photography is capable of. This is Pedro's tribute to Cuba and its people, a testament to their strength, resilience, and humanity. Through his lens, he captures a society that continues to inspire and amaze. “A World Within Reach” is both a visual and emotional journey, showcasing the true beauty and strength of Cuba. “Seeking solidarity not as an end but as a means to ensure that our America fulfills its universal mission.” - José Martí. We live in the biggest crisis of inequality in our existence. In an extremely individualistic society, where our social functions are tied to consumption and our values to the accumulation of wealth. Many of us feel lonely most of the time. There is a widespread pandemic of mental illnesses. Bombarded by entertainment and services, we are always connected, perpetuating the maintenance of this giant wheel that promises everything and delivers nothing. We settle for inhumanity and existential emptiness. Suppressed by those who have an interest in showing that there is no alternative, Cuba is prevented from participating in the international system. Living under an economic blockade that leaves them with very little to survive on, they thrive beyond survival, showing us that, despite everything, a better world is possible. We all know about the exemplary levels of education, health, security, housing, etc., that Cuba provides for its people. But it's not this general sense of humanity that I come to explore with these photographs; it's its everyday aspect. A few years ago, a French photographer, already at an old age, died, and his death made a huge impact on me. He was walking down a busy street in Paris when he stumbled, fell, and remained there, on the ground, for 10 hours until his death. He died from the intense cold, lying on the ground in a public space for 10 hours, helpless, without anyone offering a hand. Murdered by indifference, as a journalist friend sadly noted. Cuba demonstrates that the construction of an affectionate society occurs regardless of its material or productive development. The reproduction of our affections is intricately linked to helplessness. A helpless society breeds hostility and distrust among its individuals, manifested in our attitudes, choices, and political positions. The Cuban people made a choice and developed a society where it is possible to thrive through a different path: through our affections. Affection is not just warmth, compassion, or simple love. It is a social element, concerning our subjectivity, our perception to the environment, and our social interaction. Affection, from Freud to Lacan, is not just an individual feeling but something shaped by the social and political relations of our time, determining how we see ourselves within a society. The disposition of affections as a common good reproduces a welcoming society, where a support network is a natural condition of human relations. Unfortunately, this is a rare condition in the world we live in. A daily life that would be unsustainable in any neoliberal society thrives in Cuba through this sense of humanity that stands out in everything. Children and the elderly are supported under the watchful and caring eyes of the entire community. Spaces, museums, theaters, squares, or streets generate coexistence; the sensation is of collective belonging. Trust surpasses the notion of individual security. The atmosphere is of solidarity and challenges the logic of competition, an environment where shared responsibility and mutual support are fundamental values. Beyond the stereotype applied to them as societies that are “happy with so little,” Cuba stands strong as a nation. With an extremely high level of culture and intellectuality, a vivid political awareness, which is noticeable “at the pie de calle” (on the street level). Their achievements in the fields of arts, sciences, sports, and other human expressions are enviable and put into perspective what we want as a society. Despite contradictions, incessant attacks, and enormous material challenges, Cuba firmly sustains itself in what it tirelessly sought to preserve and build: a profound sense of humanity. Cuba's transformation transcends material barriers by redefining fundamental structures and nurturing a sense of unity, a proposal to build a fairer and more welcoming society. Despite everything and everyone, against everything and everyone, Cuba is like a beacon of hope, an inspiration amid contemporary challenges. The possibility of a better world is already manifesting in reality. A better world is possible. © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal Pedro Vidal's journey into photography has allowed him to not only express his creativity, but also connect with communities and capture the essence of life. We are grateful to Pedro for sharing this tribute to Cuba and its people, reminding us of the beauty and strength found within humanity. In a world consumed by individualism and materialism, Cuba serves as a beacon of hope and an inspiration for a better world, reminding us that true progress and success lie in our ability to care for and support one another. view Pedro's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST In "Bifröst," Romain Coudrier masterfully captures Norway's timeless beauty, blending myth with modernity through black and white photography. A stunning exploration. MUD Dedipya Basak's documentary project explores an 800-year-old lake's struggle against global warming, highlighting its relevance and urgency in modern times. A WORLD WITHIN REACH In his Cuba project, Pedro Vidal celebrates human resilience and warmth through captivating imagery, revealing photography's profound ability to encapsulate emotions and memories. UNVEILING VULNERABILITY In a world where masculinity is often synonymous with stoicism and strength, Francesca Tiboni challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. TRANSCENDENTS: SPIRIT MEDIUMS IN BURMA AND THAILAND Mariette Pathy Allen's visual narrative celebrates authenticity, spotlighting Spirit Mediums' enigmatic presence in both possession and daily life. She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. ON THE TRAIL OF LOVE LOST Through Sasha’s photo essay, we are given a glimpse into a beautiful love story and the unbreakable strength and resilience of the human spirit. Join us as we explore Sasha Ivanov’s heartfelt tribute to Lydia and Nikolai. SAHIB: THE FRANKINCENSE BOY France Leclerc’s documentary exploration embraces the community finding captivating stories for her visual translations. Her story takes us to the village of Poshina, where we meet Sahib. THEY HAVE GONE Lorenzo Vitali felt compelled to explore the landscapes of Eastern Veneto, to understand its emotional affective relationship and document it through his photography. I AM WATER Paola Ferrarotti explores her deep connection with the water and how it has transformed her understanding of life and herself. THE STRANDED PAKISTANIS Anwar Ehtesham captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of the lives of the Bihari people and their relationship with their environment. BLINDFOLD CHESS Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players. SKIN STORIES Tony Reddrop strives to look beyond the ink in his latest project, believing that by looking beyond the physical appearance of a person you will find their unique story. WHERE THE WAVES MEET THE OCEAN Uma Muthuraaman explores the idea of finding in ourselves what we seek in other people and places — like waves searching for the ocean, being it, and not knowing it.

THOMAS HACKENBERG be inspired Gallery // ARTIST'S STATEMENT // My first strong influences that sparked my interest in capturing street life go back to the work of Henri Cartier-Bresson and German photojournalist Thomas Hoepker. For me, a good street picture must have some thought-provoking note beyond being merely decorative, some humorous or quirky details, some kind of storyline: telling an unstaged, candid story from the big theater of life. Humour in pictures is what I like best. I like pictures that pose questions rather than provide answers. Most of my photos are taken candidly; nothing is staged or manipulated. I like chasing for the offbeat, on a quest to find some extravaganza in the ordinary, some fun element, some beautifully layered scene. Any interesting scene that hits my eye. I try to stay as invisible as possible. Finding something special in the ordinary that might only exist for a split second before it’s gone forever. The two old grannies I captured in 1991 in San Gimignano, Italy, one with the Hanimex 110 pocket camera: a time document today. As all the millions of smartphones today will be at some point in the future. I would characterise myself as a classical flaneur – though sometimes more of a long-distance runner – with a camera. Ready to take action in an instant, react to any kind of scene that strikes my fancy and unfolds in front of my camera. And that’s what I love so much about this subject: you don’t need any clumsy gear, you don’t have to travel anywhere, you're always there! That’s why it is so magical for me, many have said this before: It’s positively an obsession! My photos have been featured in periodicals and on various digital platforms and hubs and have also received awards in international street photo festivals and competitions. LOCATION Braunschweig GERMANY CAMERA Sony A7 MkIII CATEGORY street WEBSITE https://hackenberg.info/ ​ @THOMAS_HACKENBERG_PHOTO ​ FEATURES // Theatre of Life

NICOLE TSATSOU be inspired Gallery // ARTIST'S STATEMENT // I am a photographer based in Athens, Greece. I am currently studying at the Athens School of Fine Arts, on Master of Digital Arts. I have a Bachelor's degree in Photography and Audiovisual Arts, from the University of West Attica, as well as a Bachelor's degree in Classical Guitar Studies. In my work I mainly deal with self-portraits, narrative photography and video art. Through my images I attempt an inner search around the self-image, and I try to set questions about the relationship between photography and reality, the interpretation of the image, but also the human need to immortalise the visible. I am concerned with issues of identity and roles. I explore the relationship between the photographer and the subject, and consequently of the artist and their model, and I study how they influence each other, something that is of particular interest in self-portraits. I also study the way in which the human body can function as a symbolic element in art. In my work I follow a kind of ritual, mainly in terms of research and the choices I make. This includes the semiology, the identity that I will choose to present, the means that I will use, but also what I will choose to present to the viewer. I like to create artistic hybrids, by blending techniques from different artistic fields. I try to relate knowledge and practices from my various interests, creating a dialogue between different fields. I combine influences from photography, painting, cinema, sculpture, literature and even music. LOCATION Athens GREECE CAMERA Sony a7 CATEGORY self portrait, narrative WEBSITE http://www.nicoletsatsou.com/ ​ @NICOLE_TSATSOU ​ FEATURES // Inner Truths

TIM HUYNH be inspired Gallery // ARTIST'S STATEMENT // In Hawaii, it’s common to find pictures of our majestic mountain ranges or glistening beaches. Street photography is underrepresented here as an art form. Knowing this I still attempt to defy all that’s beautiful (and typical) in Hawaii to showcase the raw and gritty of photos of “the street.” LOCATION Honolulu HAWAII CAMERA Ricoh GR III CATEGORY street WEBSITE https://timhuynhphotography.com/ ​ @TH__STREET ​ FEATURES // Fill the Frame The Raw and Grit of Hawaii