Street Photography Magazine Podcast

In this episode of the Street Photography Magazine podcast, Bob Patterson talks with documentary photographer, educator, and National Geographic contributor Michael O. Snyder. Michael shares how street photography became the foundation for his larger documentary practice, why place matters just as much as people in storytelling, and how photographers can pitch their work more effectively to editors and publications. They discuss the relationship between street photography and documentary photography, building long-term projects, photographing cultural heritage sites affected by climate change, and Michael’s new book Alleghenia: A Central Appalachian Folklore Anthology, a fourteen-year project preserving stories and traditions from Central Appalachia. From ancient flood systems in Petra to forgotten presidential statues in Virginia to oral histories from the mountains of Appalachia, this conversation is a reminder that meaningful stories are everywhere, you just have to start where you are. Topics covered: • Street photography as a gateway to documentary work • How to pitch photo stories to editors • Why place matters in visual storytelling • Working with National Geographic • Climate change and cultural heritage • Michael’s new book on Appalachian identity and folklore • Why the best stories often begin at home

Listening to Bethany Jacobson talk about NYC in the 80s in our last episode was absolutely fascinating, but it was an unfamiliar world for me. This week, we relived a little 90s nostalgia with Kai Diaz, and I have to say, it took me back to my own teenage years, albeit an East Coast version. Kai grew up on MTV, skate videos, and surf magazines and it was that kind of visual culture that shaped the way he sees, even now. As a kid, he became the unofficial documentarian of his friend group, filming skate sessions and documenting life on film. To this day, friends call him looking for old memories, and he’s usually got the photos stowed away, ready to scan and send. So, you can add archivist to the list of Kai’s abilities too.  He said, “I just wanted to remember everything…that’s kind of how I got into photography.” And while he started shooting so he wouldn’t forget (Peter Pan syndrome, he calls it), over time, he’s honed his craft into something much deeper. These days, observation, storytelling and curiosity are at the heart of what he creates. “It’s just in me to document stuff,” he says. Influenced by Film and Films With just a few exceptions, Kai has stayed true to film photography over the years, both for the benefits that come from a slower process, and for the quality of work film produces. Film pushes him to get it right in-camera instead of fixing things later. Plus, he argues that there’s something about film that’s hard to explain but immediately noticeable, a quality that digital (even with filters) doesn’t quite replicate. And when you look at his work, you can see it. His photos feel cinematic, which is a product of his approach, but also his early visual training, one that came from all those classic 90s films. Kai was (and still is, sounds like) obsessed by films from directors like Christopher Nolan, Steven Spielberg, and Stanley Kubrick. “They don’t have to explain anything… they just show it to you and you feel it,” he says. That same philosophy carries into his own photography: no over-explanation, no forced narrative, just images that make you feel something, and scenes that make you curious. We dove into the creation of Kai’s upcoming book too, “Echoes of the Unseen,” which promises to be an incredible collection of work, and Kai talked candidly about the challenges that come with book-making.  At the end of the day, Kai isn’t just making photographs, he’s leaving behind a record. Whether it’s a box of old prints, a future photo book, or an image hanging in someone’s home, it all serves the same purpose: to make sure something lasts. And there’s something pretty powerful about that. Watch this episode on YouTube A Selection of Kai’s Photos Where to Find Kai Website Instagram Kai Diaz: Living Forever (SPM Feature)

In this episode of the Street Photography Magazine podcast, Bob Patterson and Ashley Riffo sit down with photographer, filmmaker, and educator Bethany Eden Jacobson for a conversation that was part time capsule and part behind-the-scenes look at a creative life. Bethany takes us back to the gritty, electric energy of 1980s downtown New York, which was an era where art, music, and rebellion collided. From photographing icons like Iggy Pop to documenting the underground scene shaped by figures like Jean-Michel Basquiat, her work captures a moment that was raw and unfiltered, and though she didn’t realize it at the time, transformative for the art world in general. But it wasn’t just the nostalgia that made this conversation interesting. We also talk about what it means to revisit your archive decades later, how filmmaking influences photographic storytelling, and why editing—whether for film or a photo book—is where the real work begins. Bethany also shares her thoughts on creative identity, resisting the pressure to “niche down,” and embracing a multidisciplinary approach in a world that often demands labels. It’s a great conversation for anyone out there in the wild navigating their own creative path right now. Links from the show Bethany’s Website Kickstarter for “Another Time, Another Place” – LAUNCHING APRIL 14TH Bethany’s Photo Book “Another Time, Another Place”

Several months ago, after an editorial meeting with Bob, which was packed with beautiful and meaningful projects, I admitted that I often feel like I don’t know what I want to say with my camera. I did not share this with Jorge Delgado-Ureña, photographer, writer, educator, and co-founder of The Raw Society, but it goes without saying that our conversation hit home for me personally. In this episode, Jorge and I talked, among other things, about intention in photography. Why it’s so hard to nail down, and why it matters more than we might like to admit. Jorge shares his perspective on storytelling, responsibility, and the difference between simply taking photos and actually saying something with them. Plus, you’ll hear about how The Raw Society came to be, what a fantastic community it’s turned into, and what’s in store for the upcoming inaugural Raw Photo Fest. I loved hearing about a festival that will showcase photography in a way that is accessible to anyone and everyone, including kids, locals, and non-photographers. “Raw Photo Fest is more than a festival. It is an invitation to slow down and connect — with photography, with stories, and with Menorca itself.” – Christelle Enquist, Co-founder of The Raw Society and Festival Director This episode has plenty of food for thought, and it might just challenge the way you’ve been shooting. I know it gave me a little something to wrestle with. Links from the show The Raw Society The Photographer’s Journal (Jorge’s Substack) Raw Photo Fest Watch this episode on YouTube

In this episode of the Street Photography Magazine podcast, Bob and I had the chance to sit down with photographer Doug Bruns. And the conversation we had was the kind that sticks with you long after it’s over. We talked about how growing up around cameras and photographers shaped his path, and how a formative trip abroad set him on a lifelong journey of travel and image-making. But this episode goes way beyond origin stories. We talked about what it means to photograph for yourself instead of for validation, how stepping away from social media impacted Doug’s creativity, and why committing fully to black and white photography gave him a surprising sense of freedom. We also got into the realities of creative dry spells, discipline, and the long, often nonlinear relationship we have with our work. Doug shared a few stories that really stayed with me too, especially one about discovering a sculpture deep in the Maine wilderness that reshaped how he thinks about creativity and purpose. This isn’t just a conversation about photography. It’s about identity, intention, and figuring out how to stay connected to your creative voice over time. If you’ve ever questioned why you make photos, or if you’ve ever felt stuck, distracted, or disconnected from your work, I think you’ll find something meaningful in this one. Links from the show Doug’s Website Doug on PixelFed Doug on Glass The photography of Alison Wright A Selection of Doug’s Photos P.S. You can also watch our conversation on YouTube.

Street photography often begins with curiosity. For Carmina Ripolles, it also began with a moment in life when creativity became a necessity. In this episode of the Street Photography Magazine podcast, Bob Patterson and Ashley Riffo talk with Carmina, a street photographer and English teacher whose work celebrates what she calls the “beautifully ordinary.” Her journey into photography began during the lockdown, a time when the world slowed down and many people found themselves searching for new ways to express and understand their experiences. What started as a creative outlet soon became something deeper. Inspired by photographers like Vivian Maier and Richard Billingham, Carmina began documenting everyday life with a keen eye for small gestures, fleeting expressions, and quiet moments that often go unnoticed. Her photographs remind us that meaningful stories don’t only exist in dramatic scenes, they are happening all around us. Throughout the conversation, Carmina talks about how photography helped her know herself better as a true people person. She also shares how listening, observing, and engaging with others can transform a simple moment into a photograph that resonates. Her goal isn’t to dramatize the street or focus only on hardship. Instead, she looks for humanity, humor, and joy in daily life. As she puts it, she wants her images to be “beautifully ordinary.” Carmina in the February Issue Beautifully Ordinary: The Street Photography of Carmina Ripolles In a genre that sometimes gets defined by bravado or confrontation, Carmina’s photographs remind us of another path. Read more Links from the Show “The Fugitives” by Carmina Ripolles (The Bee) “When We’re Smiling” by Carmina Ripolles (The Bee) Carmina on Instagram

In this episode of the Street Photography Magazine podcast, Bob Patterson sits down with Swiss photographer Michael Eugster. Though relatively new to the street photography scene, his photos are incredibly good, and have garnered him quite a bit of recognition in festivals and exhibits around the world. When Michael began experimenting more seriously with photography, he first focused on landscapes. (I mean, how could you not if you lived in Switzerland?) But when he started photographing in Zurich, something shifted. As people entered the frame, the images felt more alive. “Suddenly, people came into the pictures,” he says. “And I realized this is definitely a more interesting element.” Street photography gave him emotions and stories that landscapes couldn’t. Once he discovered that, he committed. Michael studied online resources, listened to podcasts, and spent as much time shooting as possible. Practice became the foundation of his progress. The more he photographed real life unfolding around him, the more confident he became in anticipating moments. Today, Michael approaches street photography with the mindset of a collector. Rather than chasing a single perfect image, he looks for recurring themes that catch his attention over time. Matching colors across strangers, lost gloves abandoned on sidewalks, and even interesting backs, yes, backs, have become ongoing personal projects. These small visual puzzles give him direction while still leaving room for surprise. The street always has the final say, and part of the joy is staying open to whatever appears next. Community has also played an important role in his growth. Photography festivals introduced him to other street photographers who share ideas, encouragement, and honest feedback. Those connections have helped turn a solitary practice into a shared experience. Michael’s journey is relatable. He did not begin as an expert. He improved rapidly, simply by staying curious and practicing consistently. For anyone exploring street photography, his experience is a reminder that growth comes from intention and effort. Links from the show Michael’s Website Instagram Michael on Substack

In this episode, Bob and I had the chance to talk with photographer Xiomaro about a creative path that definitely didn’t start with photography. Before he ever picked up a camera, Xiomaro’s world revolved around music and law. He performed, managed artists, and built a legal career working with musicians. Photography really only entered the picture after a prostate cancer diagnosis forced him to slow down and rethink what he wanted his life to look like moving forward. What followed wasn’t some dramatic overnight pivot. It started quietly, with travel and time spent photographing national parks during his recovery. That period led to something pretty remarkable: acceptance into a National Park artist residency. Living and working in that environment gave him space to think, to create without pressure, and to reconnect with curiosity in a way that hadn’t been possible in his previous professional life. His park work grew into exhibitions and commissions, but more importantly, it helped him rediscover the joy of making something simply because he wanted to. Street photography came later, almost accidentally. While commuting to a legal job he had taken for financial stability, he began photographing daily life in New York City. Not with a grand vision or a long-term plan. Just as practice. Just to stay engaged creatively. In our conversation, Xiomaro talks about how his background in music still shapes the way he works today. There’s a strong sense of improvisation in his approach, learning the craft, putting in the reps, and then letting instinct take over. Whether he’s photographing sweeping landscapes in a national park or fleeting moments on a city sidewalk, that same mindset carries through. We also talk about how surviving cancer changed his relationship to time and to creative work itself. Photography became less about achievement and more about presence. Less about structure and more about play. It’s a really thoughtful conversation about reinvention, creativity, and how sometimes the things that start as small personal practices end up reshaping your life in ways you never expected. Links from the show Xiomaro’s Website Instagram “Street Photography of New York City: Street Haunting in the Big Apple” by Xiomaro “Free Play: Improvisation in Life and Art” by Stephen Nachmanovitch

In the latest episode of the Street Photography Magazine Podcast, Bob Patterson shares an important update about the future of the magazine, and about his own next chapter. After more than 13 years as publisher, Bob is stepping back from day-to-day leadership and passing the reins to me, Ashley Riffo. This transition has been thoughtful, intentional, and in the works for a while now. The heart and mission of the magazine aren’t changing. In this episode, Bob reflects on how what started as a six-month experiment turned into the longest role he has ever held. Over the years, Street Photography Magazine grew into a global creative community, something Bob says he’s deeply grateful for. “It’s great work. I’ve loved every minute… almost every minute,” he laughs.  But in all seriousness, this is his baby. He built it from the ground up. Now, at 72 (and a half), Bob speaks candidly about aging, health, and perspective. A prostate cancer ordeal last year became a wake-up call, prompting him to ask: What do I want to do with the time I have left? His openness is a reminder that creativity and self-reflection don’t have expiration dates. What This Means for You Let me be very clear: Street Photography Magazine is not going anywhere. You can expect the same thoughtful articles, featured photographers, podcasts, and community-driven storytelling. There are no sudden changes planned, no shift in editorial direction, and no interruption to your subscription. Bob will also continue to be involved, especially with the podcast and behind-the-scenes support, so his voice and perspective will remain part of the magazine. As the magazine naturally evolves, we’ll continue listening closely to this community. One idea we’re exploring is a possible Spanish-language edition. So if that’s something you’d like to see, we’d love to hear from you. And truly, if you have any other ideas for Street Photography Magazine, please, reach out and tell us! You can send all your ideas straight to me at [email protected]. Rest assured, any future changes will be intentional and aligned with the values that brought us all here in the first place. Bob’s Next Chapter Bob is returning to his own photography, writing, and personal projects, something he’s been inspired to do by the many photographers he’s met through the magazine. He’ll be sharing that journey through Substack, and I know many of you will want to follow along. I also want you to know how seriously I take the responsibility of stewarding Street Photography Magazine. This publication exists because of its community, and my goal is to honor its history while guiding it forward with care. Thank you for being here. And thank you for continuing this journey with us. Links from the show Bob’s Substack

James Hazelwood is a Rhode Island-based photographer who recently embraced retirement as an opportunity to pursue photography full-time. Since retiring, he’s launched an ambitious publishing schedule on Substack, where he shares photo stories that blend his street photography aesthetic with personal narratives from his travels and everyday experiences. His work can be found at jameshazelwoodphoto.com, and he’s active on the new photography app Foto. James has a refreshing approach to street photography—one that extends beyond traditional boundaries to embrace storytelling both in photographs and in written form. Rather than debating what qualifies as “street photography,” he applies the street photographer’s mindset to everything he photographs. As he explains, “The whole candidness, the spontaneousness, trying to find the different angles and ways of capturing moments wherever it happens is street photography.” This philosophy has led James to create warm and personal photo essays documenting both his travels and intimate personal projects. His Southern Crescent series, published in the January 2026 issue of Street Photography Magazine,  captures life in the Mississippi Delta sparked by a Raw Society workshop during the Mighty Roots Music Festival in Stovall, MS. For photographers looking to develop their storytelling practice, James offers a valuable lesson. Commit to showing up consistently. His photo-a-day project taught him that “if you commit yourself to a daily habit, you can get a lot done.” Second, be willing to work slowly with sensitive subjects. James acknowledges “I got to really build trust with people. They’re not just going to say, sure, come in and photograph me the first time I meet them.” Finally, overcome hesitation on the street through simple gestures. James learned from photographer Peter Turnley that a raised eyebrow and questioning look—”without saying a word”—can cross any language barrier and open doors to authentic moments. James’s work is inspiring because he’s channeling retirement into full-time creative output, proving it’s never too late to commit yourself fully to photography.Once you give the podcast a listen, I encourage you to spend some quiet time reading some articles in his Substack.   Links from the show James’s Website James’s Substack Instagram

Gear discussion alert!While we rarely discuss camera gear on this show, I made an exception with Matt because…well because it’s the beginning of the year and for some reason we both started using the same camera at the same time. So why not? It’s probably the last time you hear us discuss it on the show during the remainder of 2026. Matt’s approach to street photography is different because he’s adapted his photography to social media while maintaining his personal photographic vision. He explains, “The truth is there’s an awful lot of mediocrity around, and mediocrity doesn’t get noticed. It doesn’t matter how many hashtags you place. It doesn’t matter what filter you’re using.” His solution is consistency and quality. Rather than chasing trends, Matt focuses on posting strong images regularly which helps him build recognition over time. His perspective on creative freedom is equally instructive. When discussing the balance between personal artistic vision and audience expectations, Matt said “If somebody’s paying you or you’re doing a commission, then you have to fit certain parameters. But if you’re doing it for yourself, it can be totally free. Your personal work should be an expression of what you want to say.” This distinction helps photographers understand when to compromise and when to stay true to their personal vision. Most important, Matt stresses the value of direct human connection in street photography. He believes careful observation and the courage to engage directly with the world are qualities no algorithm can replicate. Links from the show Matt’s Instagram SPM Podcast episode with Matt discussing our recent trips to Cuba in 2018 about 2-weeks apart

Watch The Video on YouTube Each year, we publish hundreds of street and documentary photographs in Street Photography Magazine. Some hit right away. Others stick with us long after we’ve closed the issue. In this episode, Ashley and I look back at 2025 and share 10 images (plus a few others) we keep coming back to. These are a few of the photographs that held our attention, raised questions, or felt worth spending more time with. Below, you’ll find each image with our thoughts on what drew us to it, along with the full audio conversation. Ashley’s Selections France Leclerc Untitled This photo is immediately surprising (unless you deal in camels probably). But what I love is the tension in this photo. Don’t anybody psychoanalyze me, but it reminds me of an ugly divorce, two men fighting, a camel, distressed dangling in the middle, other camels nearby gawking. It’s tense, but the camels make it almost comical. From France Leclerc – Staying for the Story Pat Callahan “Lost in the Moment” This is a beautiful moment but it’s made so much more beautiful by the composition and the sets of three. J’adore.From At Home Everywhere with Pat Callahan Billy Dinh Untitled So many of Billy’s photos leave me slack jawed, thinking “how did he even see that?” This is one of them. It’s like the magic of street photography wrapped up into a single image. Things familiar, things unfamiliar, gorgeous light, and PERFECT timing. From Conjured Off a Canvas Brad Jones “The Vacation Effect” Seriously. Who can turn a Whataburger into a renaissance art? Brad Jones can.From Brad Jones: Unlimited Good Pictures Andrew Stark “Eddy Avenue Central This photo takes that “multiple layers” approach we see a lot in street photography and makes it better. Not only are the subjects layered well, there’s just so many emotions going on here. Amazing capture. I really admire Andrew’s observation skills. He’s super skilled at seeing emotions and capturing them at just the right second. From Stark Reality: The Second Coming Dean Hinnant Untitled I talked about this one on The Crit House, but besides it being a lovely photo, I love the way Dean captures his adolescent siblings in the presence of his father, with his dad always in the periphery – you never see his face, but he’s often there on the edges. It’s that moment in life where you’re aching for independence, planning out your life without your parents, but you still desperately need them, in a picture. You don’t see this phase of life documented through photography very often, which I think makes it super valuable. From Dean Hinnant: Seeing the World Wide Open Michael O. Snyder Untitled This is just so weird. And I love weird stuff. It’s a photo of the remains of Presidents Park, where forty-two monumental busts of the nation’s presidents were constructed to draw in tourists visiting nearby Colonial Williamsburg. The park didn’t work out and the busts have been dumped in a field and left to decay. It’s weird but it’s so easy to find metaphors for government and society in these photos. That makes it more meaningful than just snapshots of a random oddity. From Placing Bets on Mosquitos Bob’s Selections Dean Hinnant “Victoria” Although this is actually a documentary photo, I chose it due to the intimate story Dean tells us about his youngest sibling, Victoria as he makes a candid image of her having a quiet moment in her bedroom. The warm tones reveal a feeling of closeness between the siblings while the multiple mirror reflections pull the viewer deeper into the frame to reveal her melancholy mood.From Dean Hinnant: Seeing the World Wide Open Alaya “Diagonal” I’m attracted by the shapes, particularly triangles. I also like that it is not a typical “street” image. The combination of shapes creates an abstract whole. Alaya has arranged the elements so the compositional relationships become more important than the literal subject matter. The image functions almost like an abstract painting that happens to use real-world elements.From Street Shooters of August 2025 Pat Callahan “The Pilgrimage” Pat Callahan made this photo with his iPhone which brings to mind the work of Henri Cartier-Bresson.The parallel diagonal lines of the bannisters create a sense of depth and movement, which pulls the eye down and around the corner where to the nuns. 
From At Home Everywhere with Pat Callahan Hillary Greene-Pae  “Little Joe Mclerran and Family at the Cat Head, Clarksdale, Mississippi” I was first drawn in by the image of the father watching over his son stretching his small fingers to make a difficult cord as his daughter dances to the music. Hillary’s choice of a slow shutter speed perfectly captures the motion of the girl’s dress. Then while spending more time in the image I noticed the painting of the singer above the group in the background as if he’s part of the performance.

This scene of a family doing something they love together made me wish I was there.From Street Shooters of September 2025 Larry Veltman “Through the Plastic Curtain” At first I almost passed on this photo due to the foggy nature of the plastic curtain. Then, after pausing for a closer look I was drawn in by the impressionistic texture created by the semi-opaque curtain. The Sticky Fingers logo from the Rolling Stones album in the upper left hand corner of the frame gives to overall image balance that would not exist in its absence. The muted tones mirror the sense of peace of the resting man in the center of the frame.From Street Shooters of September 2025

Sharon LaCour is a pianist, piano teacher, and author living in Lafayette, Louisiana. After growing up in New Orleans in a Cajun family and spending years up north, she returned to Louisiana where she has published over a dozen short stories in literary journals. Her debut novel, The Meeting of Air and Water, explores the connections between photography, identity, and Cajun culture across two generations of women photographers. After 216 episodes of interviewing photographers, I never expected episode 217 would feature someone who isn’t a photographer at all. But Sharon LaCour’s story illustrates how photography can inspire creative work in unexpected ways. I met Sharon through her son Daniel, a jazz bassist I photographed while documenting Virginia’s jazz community. During a post-sound check conversation, Daniel mentioned his mother had just published a novel inspired by Fonville Winans, a photographer who documented life in the Louisiana bayous from the 1920s through the 1990s. I immediately wanted to know more. Sharon’s novel began taking shape when she received a gift in her thirties—a book of Winans’ photographs from the 1930s. “I had a great love of photography at the time,” she explained, describing how those images captivated her. The portraits especially moved her—faces of Cajun people along the coast, captured by a young photographer traveling the bayous in a beat-up houseboat. “It wasn’t until I found this photography book with the photographs by Fonville Winans that the book kind of took shape,” she told me. The Meeting of Air and Water follows two women photographers separated by generations, both influenced by a Winans-inspired character who documents Cajun life along the Louisiana coast. Sharon weaves together themes of cultural identity, family heritage, and the power of photography to preserve disappearing ways of life. The book explores how one photographer’s gift of a camera to a young Cajun girl ripples across decades, connecting women through their shared passion for documenting real-life moments. Since the two fictional photographers in Sharon’s novel were essentially street photographers—this conversation felt like a natural fit for our audience. Sharon’s connection to both Cajun culture and and street photography brings a unique perspective on how images can inspire stories that honor heritage and preserve history. Links from the show Sharon’s Website Sharon’s Book The Meeting of Air and Water (Holiday 2025 Offer) Sharon’s Substack Instagram

France Leclerc is a former professor turned full-time photographer based in Chicago, originally from Montreal. Her work centers on what she calls “life photography,” capturing authentic moments during her extensive travels across Asia, Africa, and beyond. Featured in the December issue of Street Photography Magazine, France brings a unique perspective shaped by years of teaching and a deep commitment to cultural understanding. The Secret of Patience For France, travel and photography are inseparable. What began as a way to share experiences from distant places has evolved into a practice of storytelling through images. But her real mastery lies not in the destinations she visits—it’s in her ability to become part of the scenery, earning trust and capturing genuine moments that most photographers never see. France’s approach to photographing strangers in public spaces is refreshingly simple: she waits. “I try to stay there for as long as I can,” she explains. “They either accept you or not. But I stay, and I stay, and I stay. So then they get fed up. They stop seeing me or they stop behaving as what they think I’m there for, and they just go back to their life. And that’s when my work starts.” This patience allows her to move past the performative smiles and staged moments. By remaining present until people forget about her camera, France captures something rare—the natural rhythms of daily life. “I wait for them to be doing their natural thing,” she says. “I become part of the background.” Lessons for Street Photographers First, abandon the quick shot mentality. France’s willingness to invest time in a single location yields photographs with genuine emotion and unguarded expressions. Second, approach your subjects with humility. As she notes in her essay “Devotion in Motion,” blending in requires setting aside ego and truly respecting the communities you photograph. Third, trust your emotional response when editing. France selects images based on what makes her heart go “boom”—a reminder that technical perfection matters less than authentic connection. France’s work seeks to reveal our common humanity. As she puts it, “We’re all the same. We all want a decent life for our family and our community, and that’s what we should be focusing on.” Links from the show France’s Website Instagram Facebook

Jason Rice is a street photographer whose work bridges the gap between personal history and urban observation. A graduate of Rhode Island School of Design (RISD), Jason balances his career in the book publishing industry with a devoted practice of street photography, particularly in New York City. His recently published book, Overseas, collects images from a 25-year archive of work created during his early years in Europe. For Jason Rice, photography was never really a choice—it was an inheritance. Raised by art school parents in Rhode Island, with his father working as a photographer and his mother serving as Dean of Fine Arts at RISD, Jason grew up thinking “that was what parents did.” His childhood unfolded near or in darkrooms, surrounded by the making of physical things. “I come from a world of physical things where you, if you want to get attention, you make something,” he explains. This formative environment, where creativity was simply the family language, laid the groundwork for his approach to street photography. Jason pays close attention to light and place, particularly in transportation centers. He describes the Moynihan train station in Manhattan like this: “The light that comes into the Moynihan Tunnel in the middle of the day is rays of heaven light.” For Jason, these transit spaces offer something magical—people waiting, delayed, bored, and momentarily disconnected from their routines. “Transportation centers are where it’s at for me,” he says, “because people are hanging out.” Other photographers can learn three essential lessons from Jason’s approach. First, embrace patience and observation. Jason has spent a decade carefully watching how light moves across Manhattan through different seasons, understanding that great street photography requires intimate knowledge of your environment. Second, seek out spaces where people naturally pause and reveal themselves. Transit hubs, with their combination of dramatic light and human vulnerability, offer rich opportunities for authentic moments. Finally, understand that meaningful work often takes time to reveal itself—Jason didn’t even look at his European images for 25 years before recognizing their significance and publishing Overseas. So relax and have a listen to my conversation with Jason Rice Links from the show Jason’s Website Instagram Overseas – Jason’s new book – US ORDERS Overseas – Jason’s new book – EUROPE ORDERS

Hillary Greene-Pae is a clinical social worker, real estate investor, and accomplished photographer based in Calabasas, California. Her work spans multiple genres, but it’s her street photography that has captured attention for its emotional depth and unique perspective. As the featured photographer in the November 2025 issue of Street Photography Magazine, Hillary brings a distinctive approach to capturing life up close. Hillary stands apart in the crowded world of street photography through her ability to see people not just as subjects, but as storytellers. “I’m always looking for how do I see the people, what are they sharing, telling me,” she explains. “So I’m always trying to take it from their perspective.” This empathetic approach stems from her work as a clinical social worker, where understanding people within their cultural context is essential. Her photography is defined by her willingness to get close—both physically and emotionally. She shoots wide and from interesting angles, often capturing intimate moments from just feet away. While she prefers candid shots, she frequently engages with her subjects afterward. “I’ll go up and just say I’ve taken your picture or would you like me to send this to you?” she notes, adding that about half the time, she approaches people directly. Her philosophy is simple but powerful: “It’s always about telling a story for me.” This narrative drive, combined with her therapist’s instinct for human connection, allows Hillary to transform familiar scenes—skate parks in Venice, buses filled with passengers—into emotionally resonant images that reveal something deeper about the human experience. Hillary’s street photography becomes less about capturing moments and more about honoring the dignity and complexity of every person she photographs. Links From the Show Hillary’s website Instagram

Barry Ashenhurst is a retired photojournalist based in Newcastle, Australia, who worked for some of the country’s premier sporting and lifestyle magazines. After decades of professional work—from motocross tracks to caravan publications—Barry transitioned to street photography, trading his heavy camera bags for a single Sony A7 and 35mm lens. His article “Feeding the Fire” will be published November 5th in Street Photography Magazine. Barry’s journey into photography began in his family bathroom darkroom, eventually moving to his parents’ dog kennel when his mother tired of the smell of chemicals. His approach to breaking into magazine work was unconventional but effective: “I’ve never approached a magazine and said, this is who I am, this is what I can do,” he explains. “I’ve always just sent them a complete product, like a complete story, with the pictures, with captions set out in the editorial style that that magazine uses.” Today, Barry is concerned about what he sees as a lack of originality in contemporary street photography. He’s particularly critical of the trend-driven nature of the genre: “There’s a conformity, a strangling conformity in a lot of this stuff. I think they get onto someone and they see what he’s doing. So now everyone’s photographing silhouettes.” Rather than following YouTube tutorials or copying popular photographers, Barry advocates studying the masters—combat photographers like Don McCullin and documentary photographers like Sebastião Salgado. Drawing on wildlife photographer David Yarrow’s criteria, Barry believes great photographs share three qualities: “Number one, you probably can’t take it again. Number two, it’s interesting enough to look at for a long time. And number three, it touches the heart.” He challenges street photographers to apply these standards to their work instead of chasing trends. Barry’s philosophy is simple: “If your photographs are boring, you’re photographing boring stuff, mate. Go and find interesting things to photograph.” Barry does not currently have a website or other online presence. However he is very well read and during our conversation shared several excellent book and photographer recommendations. I was impressed with his admiration of the writings by the late Joe Baegent from West Virginia. It was a pleasant surprise that someone from the other side of the planet was inspired by stories about the unique culture of my native Appalachia. Links from the show Don McCullin Abbas Attar Philip Jones Griffiths – Vietnam Inc. Dotan Saguy Books by Sebastião Salgado Joe Bageant – Rainbow Pie Joe Bageant – Deer Hunting with Jesus

I’d like to tell you about someone who’s become both a friend and a photographer I admire. His name is Pat Callahan, and he’s our featured photographer in the October 2025 issue of Street Photography Magazine. Here’s the funny thing about how we met: I’d known Pat for over two years at our gym here in Charlottesville, Virginia. We’d play pickleball together, exchange pleasantries, the usual gym-friend routine. Then one day while waiting for a game to start, we had a casual conversation and he asked what I did for a living. When I told him about Street Photography Magazine, he said, “I do street photography.” I was floored. Later, I saw some of his work on Instagram and realized this guy is the real deal—a genuine talent hiding in plain sight on the pickleball court. What strikes me most about Pat’s work is the joy in it. When I look at his photographs, two words come to mind: Life Magazine. There’s something about his images that captures everyday people in everyday scenes, yet reveals something extraordinary. His approach reminds me of the photojournalism that made me fall in love with photography as a kid. Pat himself is a joyful, friendly guy, and that spirit shines through in his work. Pat’s journey into street photography took a serious turn when his wife Julie was assigned to work in Bratislava, Slovakia. As he puts it, “I realized it’s what I really like and it’s what other people like.” That realization led to his first exhibition at a cafe in 2015. This past year, he had another exhibition at the historic Albrecht House in Bratislava—a full-circle moment celebrating French culture through his street photography work from Paris, where he maintains an apartment. Albrecht House Exhibition, Bratislava Slovakia – Winter 2025 What I appreciate about Pat is his democratic view of equipment. He’ll show you images and challenge you to guess which were shot with a camera and which with his phone. “It doesn’t matter,” he says with a grin. What matters is being ready, keeping your heart and eyes open, and recognizing those fleeting moments that tell a human story. His work has been published internationally, and he continues to travel between Charlottesville, Michigan, Paris, and destinations around the world, always with a camera in hand. Today we’re going to talk about his approach to street photography, his recent exhibition, and what drives him to capture the working-class neighborhoods and everyday moments that most of us walk past without noticing. So have a listen to my conversation with Pat Callahan—world traveler, street photographer, and one of the most genuinely enthusiastic people you’ll ever meet. Links from the show Pat’s Website Facebook Instagram John G. Morris – Legendary Life Magazine Photo Editor Peter Turnley David Turnley The Albrecht House Bratislava Slovakia

In this episode I speak with Alan Wieder, a street photographer, oral historian, and author whose book We Will Not Be Removed: The People of King School Park documents four years spent photographing at a park in Portland, Oregon. The book captures the daily lives of a predominantly African American community in a gentrified neighborhood. Alan’s journey into this project began in July 2020 during a political protest when he encountered a group of men at King School Park. After asking permission to photograph them and returning the next day with prints, he became a daily presence at the park for the next four years. What started as casual documentation evolved into deep relationships with the community, particularly with elders like Carl, Tracy, and Rosie, who had lived through the neighborhood’s transformation. The park serves as a gathering place for people who were displaced by gentrification but continue to return to what they consider their neighborhood. Alan captures not just portraits but candid moments that show the connections within this community. His approach reflects lessons learned from studying with photographers including Bruce Gilden, Peter Turnley, and Constantine Manos. Beyond the photography, he conducted interviews with community members about their experiences with displacement and their connection to the neighborhood. The book combines images with quotes from residents, creating a narrative about resilience and belonging. Mitchell Jackson, a Pulitzer Prize-winning author who grew up in the neighborhood, wrote the foreword. Alan’s background as an oral historian and his previous work documenting race and class issues, including research on anti-apartheid activists in South Africa, helped shape his approach to this long-term project. Now based in Asheville, North Carolina, he continues street photography while planning visits back to Portland to share copies with the people who made the project possible. Links from the show Alan’s Website Instagram We Will Not Be Removed: The People of King School Park

Today I’m joined Garrett Strang, an American photographer who has made Paris his creative home. Garrett’s journey from documentary filmmaker in Washington D.C. to street photographer in Paris is one of creative evolution and bold reinvention. For 20 years, he created documentaries on health issues, population studies, and social conflicts, where he developed an eye for human emotion and storytelling that would later drive his photographic work. His transition to photography began with a series called “America on the Edge” during the 2016 election cycle, where he captured the tension and uncertainty in people’s faces using unconventional framing techniques. This work sparked his passion for street photography and ultimately led him to abandon commercial photography entirely when he moved to Paris. Now living in Versailles with his partner, Garrett spends his days walking the streets of Paris, capturing candid moments on the metro and throughout the city. His work has been featured in Street Photography Magazine, and he recently published his first photo book. Paris a coeur ouvert Paris in the Raw. Today we discuss his techniques for shooting in challenging environments, his approach to connecting with subjects, and the creative risks that drive his photography. Links from the show Garrett’s Website Paris a coeur ouvert Paris in the Raw – Garrett’s new book Instagram A selection of photos from Paris a coeur ouvert Paris in the Raw

Today we’re joined by Raymond Thompson Jr., an assistant professor in the College of Communications at the University of Texas and a photographer whose work defies easy categorization. Originally from Virginia, Raymond has spent years documenting stories that others have forgotten or even worse, deliberately erased. His approach blends documentary photography, fine art, and archival research to uncover hidden histories. From his powerful “Justice Undone” project photographing juvenile detention facilities to “Appalachian Ghost,” which reveals the tragic silicosis disaster at Hawks Nest in 1930s West Virginia, Raymond’s work serves as both witness and memory keeper. What makes Raymond’s practice unique is his willingness to adapt his visual style to serve each story’s needs. He moves between street photography and portraiture, traditional documentary and experimental processes, even letting his prints mold in water when the narrative calls for it. His latest book, “It’s hard to stop rebels that time travel,” explores his personal connection to North Carolina landscapes while examining the layers of American history embedded in three coastal counties. Join us as we discuss access, intuition, the responsibility of storytelling, and how Raymond balances his academic career with creating deeply personal photographic work that challenges us to remember what we’d rather forget. Links from the show Raymond’s Website “It’s hard to stop rebels that time travel” Raymond’s latest book Instagram

This week we’re joined by our friend Virginia Hines. She’s a photographer and former publishing industry professional who has traveled extensively to document street life around the world and learn from masters of the genre. She wrote the foreword to Street Photography Magazine’s book “Where the Streets Lead” and has been featured multiple times in our podcast and magazine, sharing her insights into street photography. And she is a frequent contributor to Street Photography Magazine. Fresh off circling the globe in just a few weeks, Virginia joins Ashley and me to share stories from her whirlwind journey that took her from San Francisco to multiple cities across China, then to Photo London, and back home again. I really enjoyed Virginia’s observation of how China has changed since her last visit before COVID. “Nobody uses cash anymore,” she told us, explaining how even the smallest purchases now require a phone payment system. But beyond the technological shifts, she noticed something deeper: “People seem to be a little more laid back, having a little more fun, maybe saying, you know, let’s just enjoy friends and family and the good things in life.” Virginia describes the performative nature of modern Chinese society, with TikTok videos being filmed everywhere and elaborate costume play in public parks. She also shares fascinating insights about Beijing’s hutongs, traditional housing areas, where she spent time photographing, meeting residents living in conditions that tell stories of China’s urban evolution.

Street photography isn’t just about locations. It’s about the stories and encounters along the way. Virginia told us how her limited Chinese language skills sometimes led to spontaneous photo opportunities. People, startled by a foreign photographer, often agreed to be photographed before they could decline. One humorous incident involved a woman in a pink coat and inflatable wings. Virginia photographed her, and days later, in a different part of town, the woman approached her, asking for the picture. The story took an even stranger turn when Virginia showed the photo to a Chinese friend back in San Francisco who showed it to her mother who recognized the woman. This created a small-world connection in a country of over a billion people. Virginia’s stories remind us why travel photography isn’t just about capturing pretty pictures—it’s about documenting cultural shifts, human connections, and the unexpected moments that make each trip an unforgettable experience. Links from the show Virginia’s Website Instagram Photo London Virginia’s articles in Street Photography Magazine

What happens when two artists choose to show up for each other—week after week, year after year—for over three decades? In this episode, Ashley Riffo talked to photographer Gigi Stoll about her extraordinary friendship with the late Flo Fox: a street photographer, advocate, and firecracker of a human being who never let MS (and the blindness and paralysis that came with it) stop her from creating. Their bond was intentional and powerful, to say the least. And not just for their art, but for their lives. Flo’s influence didn’t end with her passing either. In fact, she’s the driving force behind Gigi’s nonprofit, Two by Two Media, which supports female artists over 70 in building their legacy. This episode is a tribute to Flo, a celebration of friendship, and a reminder that creativity has no expiration date. “Shades Of The Past” by Flo Fox – NYC, 1979 Links from the show Gigi’s Photography Website Two by Two Media Flo Fox’s Website Gigi’s Instagram

I’m pleased to have Mark Seymour back on the podcast. It’s been too long since we last connected, because Mark’s been busier than ever. He’s based in the UK, and when we spoke, he mentioned watching foxes playing in his garden. But don’t let that peaceful scene fool you—Mark’s constantly traveling, teaching workshops around the world. In addition to his own workshops Mark also works with Light and Land. The clientele is different for each. Light and Land attracts older folks with disposable income who see photography as a hobby. Mark’s independent workshops draw professionals wanting to improve their street and travel photography for business. Despite his busy teaching schedule, Mark stays committed to personal projects. He learned this lesson from conversations with photographers like Larry Towell and Ed Kashi, who told him his images were good but asked about the story. They pushed him to focus on developing narratives through his work. Mark just returned from teaching in Venice. He always arrives three days early to scout locations, even though he’s been there many times. His groups arrive via private speedboat, a very James Bond experience. But the real but the street images come when you walk away from the tourist spots like Rialto Bridge and St. Mark’s Square. A few hundred yards away, you will find locals hanging around squares in the evening, kids playing, real street photography opportunities. His workshops start with classroom discussions about masters like Cartier-Bresson and Robert Frank. Then he gives students simple projects—color matching, reflections, light and shadow work. His best advice is to “get lost.” He tells participants to wander wherever they want and meet back in two hours. That’s when the best shots happen. By day five, students are seeing things differently. They notice heads growing out of other heads in the background and understand they should have moved right to avoid it. They’re looking for faces instead of shooting backs of heads. He says the transformation is remarkable. Mark’s also working on the “One in Six” project for Seven Agency, documenting people over 60 who still work. For example he met Roy, a kite maker, at a wedding. Roy turned out to be this colorful character who made flags for the Super Bowl, and installation for Coldplay and and a kite replica of Big Ben for the Lord Mayor of London. Mark spent three days documenting Roy’s life and craft, combining photography with recorded interviews. Mark also worked on a project for National Geographic in Kolkata. The assignment came through his role as a Nikon ambassador. The budget was low, it didn’t even cover the flight, but he piggybacked it onto another trip. The National Geographic pass was like a golden key, opening doors everywhere. Mark’s strength is layered street images. He thrives in warm climates where people are out on the streets. He’s constantly pushing himself to create images that match his best work, like his recent award-winning photo from the Ganges River. It’s always great talking with Mark. I learn something new each time we talk. His insights into both teaching and creating meaningful photography projects have made make every conversation valuable and fun. Links from the show Mark’s Website Light and Land Workshops Ed Kashi Larry Towell The Seven Foundation

Today we’re joined by John M Simpson, a photographer whose unique background brings a perspective to documentary work that deserves our attention. John’s journey spans multiple careers that have shaped his approach to visual storytelling. As a former military officer he later transistion to academia as a history professor. This foundation in historical analysis would prove invaluable when he later became a photojournalist. This role led him to embed with US forces in both Iraq and Afghanistan on multiple deployments, experiences that taught him to navigate challenging environments. Zoey Today, John works as a documentary photographer with a focus on his local homeless population in Washington State. His approach goes far beyond making photographs—he builds relationships with his subjects, spending time listening to their stories and understanding their circumstances. This isn’t photography for its own sake, but documentation with purpose and respect. John joins us in this week’s episode in his role as what he calls a “canary in the coal mine”—a documentary photographer who serves as an early warning system for society. As a historian he researched policy documents of the incoming president such as Project 2025 and Agenda 47 and recent executive orders, combined with his ongoing work in homeless communities, John has identified concerning patterns that echo historical precedents in American policy. His concerns center around the potential relocation of homeless populations to tent cities or camps on federal land, a possibility he traces through reading Project 2025, Agenda 47 and recent Executive Orders by the current administration. David John draws historical parallels, highlighting the internment of Japanese Americans during World War II which was authorized by Executive Order 9066 issued by Franklin Rosevelt. Approximately 120,000 people were interned through the executive order. This historical event serves as a reminder of how quickly rights can be curtailed. Dorothea Lange, Ansel Adams, and Toyo Miyatake documented these internment camps. Lange’s work, often critical, was largely impounded until 2006. Adams, through his book “Born Free and Equal,” cautioned against the dangers of mass hysteria and the denial of civil liberties. Miyatake, himself interned, secretly photographed life inside the camps. Rhianna These historical examples underscore the need for constant vigilance. They remind us that the past can repeat itself if we fail to learn from it. John emphasizes that this isn’t about politics; it’s about American society and the protection of vulnerable populations. For our audience of street and documentary photographers, John’s message is clear: you are historians. You capture not just moments, but evidence of the times we live in. As John reminds us, documentary photographers have always played a crucial role in alerting society to “something that is noxious or poisonous” happening around us. Ralph John approaches his work with two unwavering principles: his photographs must be clear and they must be honest. He makes careful distinctions between truth and honesty, understanding that while perspective can shape what we see, integrity in representation cannot be compromised. Homeless on the Steps of a Church John challenges us to consider how documentary photographers can fulfill their role as chroniclers of contemporary history, regardless of our political perspectives. John’s work serves as a reminder that with cameras in our hands, we have both the opportunity and responsibility to document the world around us with clarity, honesty, and humanity.

Alon Goldsmith is a Los Angeles-based street photographer and copywriter whose mobile photography has earned him recognition in numerous international contests. A longtime member of Julia Dean’s photography collective, he has become known for his creative approach to iPhone photography and his documentation of Venice Beach’s vibrant street life. His work appears in the new book “[Where the Streets Lead]” and he is the featured photographer in the July 2025 issue of Street Photography Magazine. While many photographers dismiss mobile phone cameras as inferior tools, Alon Goldsmith has built his entire street photography practice around his iPhone, proving that great images come from vision rather than expensive equipment. His journey began fifteen years ago when a perfect storm of circumstances—a new job within cycling distance, his first iPhone, and a daily commute through Venice Beach—sparked a passion that would define his artistic voice. “I really got into photography and street photography through my iPhone and a bicycle,” he explains. This shaped his approach to capturing the street life in Southern California, an area often overlooked in favor of more traditional street photography destinations like New York. Alon’s technique is simple and clever. He mounts his iPhone on his bicycle’s handlebars and uses a Bluetooth remote shutter that he operates while riding. “I use my bike as a tripod,” he says. “I’m completely invisible because I can actually aim my bike at anything that I want, and no one has a clue that I’m taking photos because I’ve got this remote shutter.” This stealth approach has allowed him to document Venice Beach’s eclectic street life. His famous photograph “Surveillance,” shot during the pandemic using the Hipstamatic app, captures a homeless man on a skateboard with his dog. It’s an image that later took on deeper meaning when Alon learned the dog had been taken from its owner by police. Alon has developed a fascination with one location on the Venice boardwalk, which he calls “811.” “That’s been one of my sort of… it’s my Venice muse” “I just keep going back there and I always think I’ve done the ultimate shot there, and I still keep trying to get an even better one.” Currently, about 90% of Goldsmith’s personal work is shot with his iPhone, though he switches to traditional cameras for commercial assignments. Although, some clients specifically request his iPhone aesthetic, recognizing the unique quality of his mobile photography. Beyond individual images, Goldsmith has pioneered a project called “Going Places,” where he stitches together multiple photos from the same location to create panoramic narratives of people moving through Venice Beach. These composite images showcase his vision and demonstrate how digital tools can extend the possibilities of street photography. For Alon, the iPhone’s greatest strength lies not just in its convenience, “you always have your phone with you,” but in its ability to make both photographer and subject more comfortable. People seem to be less guarded around a phone than a big camera. So, have a listen to Alon tell his story on today’s episode and be sure to read Ashley’s feature article about him in the July 2025 issue of Street Photography Magazine. Links from the show Alon’s Webite Instagram Alon’s Book: 366 Days in the Life of an iPhone Wizard Julia Dean’s Street LA Collective

Brad Jones, the featured photographer in the June 2025 issue of Street Photography Magazine, is a Brooklyn-based forensic photographer. Originally trained as a painter and illustrator, Brad discovered photography in college and spent 15 years building a successful commercial career shooting for magazines and advertising clients. However, his transition to forensic photography a decade ago, documenting scenes for insurance companies and legal proceedings, is the tipping point that led  to his passion for street photography. Photographing destruction and tragedy in his professional work, Brad turned to street photography as what he calls an “antidote” – a way to seek beauty and joy in everyday moments. His project “A Fragile Utopia” captures candid moments in New York and surrounding areas.  His photographic approach on the street is shaped by his studio photography background. Brad uses a methodical and intuitive approach to street photography, treating natural light like lighting he used in his studio work.  He uses consistent camera settings, often passing on shots that will not work with those settings. His work is recognizable by rich colors and moments of joy and connection.  His advice to other street photographers centers on simplification and intuition: keep technical aspects consistent, don’t overthink compositions, and trust your initial gut reactions. As he puts it, “photograph hot and edit cold” – capture with passion and emotion, then evaluate with objectivity later. Have a listen to my conversation with Brad, then be sure to read  Ashley Riffo’s feature article about Brad in the June issue Street Photography Magazine. Website Instagram

What makes a street photograph truly stand out? Is it the decisive moment, the composition, or the story it tells? In today’s episode, our guest David Herman and I explore these questions and more. David brings a unique perspective shaped by his background as a former professional photographer and his instinctive understanding of human interaction. David shares insights on how he finds connections in everyday scenes. As a top-level competitive tennis player, he reflexively anticipates moments before they happen to create powerful, storytelling images. David is drawn to street photography by the uniqueness of each shot. “Every picture I take, nobody else is ever going to take that picture,” he says. Unlike landscapes, where countless photographers capture similar scenes, street photography offers the thrill of capturing a truly original moment. He embraces the unpredictable nature of wandering the streets, free from the linear, rational structure of his professional life as an investment banker. This freedom allows him to see and capture the unexpected interactions that make street photography so compelling. David describes his signature style as capturing “linkage” between subjects and their surroundings. He seeks to connect seemingly unrelated elements within a single frame. This could be the interaction between two people, or the relationship between a subject and a billboard or background element. He’s not interested in simple portraits. Instead, he prefers the complex interplay of elements that create a story within the image. It’s about those fleeting moments of connection that most of us overlook. Despite David’s claim of not knowing what he’s going to shoot, his work reveals a disciplined approach. He explains that his experience as a tennis player has honed his ability to anticipate. In tennis, you have to anticipate your opponent’s moves. You have to predict where the ball will go and prepare your response in a split second. This translates directly to street photography. He sets his camera to a simple point-and-shoot mode (F8 at 1/500th of a second with auto ISO). This way, he doesn’t have to think about the technical aspects. He is ready to capture the action before it unfolds. “Just before the hug, just before the kiss, just before something is, is when I want to shoot,” he explains. He trusts his instincts and hopes the “photo gods” will align the shot. David acknowledges that luck plays a significant role in street photography. “The photo gods need to help you,” he says. Often, just as he’s about to capture a perfect moment, someone walks into the frame, or something unexpected ruins the shot. Despite careful anticipation and preparation, the success rate in street photography remains low. Capturing something meaningful requires the world to cooperate. It requires a combination of skill, anticipation, and a healthy dose of luck. David cites several photographers who have inspired his work, with Sam Abell as his primary influence. He admires Abell’s photography, teaching style, and overall philosophy. He even maintains a friendship with Abell. He values his insights on both photography and life. David discusses two distinct qualities in photographs: “striking power” and “staying power.” A striking photograph immediately grabs your attention. But a photograph with staying power has a deeper story. It has some suggestiveness or mystery that keeps you thinking about it long after you’ve seen it. He strives to combine both qualities in his work. He wants to create images that are not only visually compelling but also leave a lasting impression on the viewer. There is a lot more to unpack from my conversation with David about his approach to street photography that we can all learn from. So, take some quiet time to enjoy my conversation with David Herman Links from the show David’s Website Sam Abell

Many of you probably already know Larry Racioppo from his thoughtful column in our monthly newsletter, where he shares his unique perspective on photography. As a lifelong photographer, Larry has published several books, both independently and through established publishers. We’re excited to feature Larry as our featured photographer in the May 2025 issue of Street Photography Magazine. Our editor Ashley Riffo and I recently had the pleasure of sitting down with Larry to discuss his personal work and how it culminated in the publication of his magnum opus. Larry has a remarkable talent for capturing moments that others might overlook—from intimate family gatherings to vibrant street scenes across New York City. What makes his work truly special is his ability to reveal meaning in unexpected places, which shines through in his latest book, “Here Down on Dark Earth,” a title inspired by a line from Jack Kerouac’s poetry. This collection, published by Fordham University Press, explores profound themes of memory, mortality, and memorialization through photographs spanning decades of Larry’s career. Rather than limiting himself to a single style or subject, Larry embraces variety in his approach, using everything from 8×10 view cameras to cell phones. His powerful images include memorial walls in New York neighborhoods, family funerals, and religious iconography. What’s particularly inspiring about Larry is his long-term dedication to his craft. Many projects in his book developed over years or even decades, allowing him to document meaningful changes over time—like memorial murals slowly fading on city walls or the evolution of family gatherings at gravesites. During our conversation, Larry generously shares his experiences photographing the streets of New York, his process for compiling this comprehensive book, and the personal connections he’s made throughout his journey. His insights into the creative process reveal how photography can serve as a powerful means of preserving what truly matters in life. We invite you to enjoy our conversation with Larry Racioppo, a photographer whose work reminds us all to pay attention to the beauty and humanity that surrounds us in our everyday lives. Links from the show Larry’s Website Larry’s book: Here Down on Dark Earth Instagram

Ever wonder how some photographers capture those striking, perfectly composed street scenes? It’s not always about luck. Sometimes, it’s about seeing the world through the eyes of a graphic designer. In this episode of the Street Photography Magazine podcast, I chat with Gavin Libotte, an Australian street photographer and musician with a background in graphic design and fine art. Gavin shares his journey back into photography, his unique perspective on composition, and how he finds inspiration in everyday life. Gavin’s path to street photography wasn’t a straight line. He initially studied graphic design and fine art, learning darkroom techniques and film photography. This early training instilled in him a keen eye for composition and design elements. It was all about shapes, forms, and relationships within the frame. Life took him away from photography for a while after his gear was stolen. But, the spark was reignited years later through an unexpected connection. Teaching guitar to the son of renowned street photographer Markus Andersen opened a doorway back to his passion. Seeing Andersen’s work reignited Gavin’s love for capturing the world around him. This renewed passion led Gavin to pick up a camera again, starting with his phone and then a Ricoh GR2. He made it a daily practice to shoot, immersing himself in books and reconnecting with the visual aspects of his life. For Gavin, this was about balancing his long-standing musical pursuits with a visual outlet. When he’s out shooting, Gavin instinctively measures the relationships between objects, ensuring a balanced composition. If an image doesn’t feel right, he simply won’t post it. It’s this dedication to composition that sets his work apart. To refine his sequencing skills, Gavin sought advice from photographer Melissa O’Shaughnessy, who generously shared her process. She recommended studying the sequencing in Walker Evans’ “American Photographs” and Robert Frank’s “The Americans.” These books are renowned for their masterful visual storytelling. Evans’ and Frank’s work serve as excellent references for anyone looking to improve their sequencing. These books demonstrate how the order and arrangement of images can create a powerful and cohesive narrative, enhancing the viewer’s experience. Gavin is drawn to working with hard light, a technique he adapted after moving to Australia. Inspired by photographers like Ray K. Metzger, he uses harsh light and contrast to create striking images. Metzger’s use of black as a design element heavily influences Gavin’s style. Gavin’s journey highlights the importance of passion, resilience, and continuous learning in street photography. His graphic design background gives him a unique perspective on composition, while his experiences have taught him the value of perseverance. As Gavin says, “the doing of it, the practice, is more important than the result, in a way, because that is us living our lives, isn’t it?” Links from the show Gavin’s Website Instagram Gavin’s Book – Symphony Number Five

Update: The podcast link is now working In this episode I’m excited to introduce you to a photographer with a fascinating perspective on the art of seeing. Steven Kushner is a retired Reform rabbi from Detroit who now calls New Jersey home. After serving his congregation for nearly four decades, Steven embarked on a creative journey that had always called to him but never had the space to fully explore – photography. When I discovered Steven had become a subscriber to our magazine and filled out our profile form, I was immediately intrigued. Taking a moment to visit his website and review his work, I knew his unique approach to street photography would resonate with our listeners. Steven describes his photographic style as “observational photography,” a term borrowed from an essay about the late photographer Fred Herzog. For Steven, photography isn’t just about capturing moments – it’s about creating meaningful images that reveal something beyond what initially meets the eye. His background as a rabbi has deeply informed his photographic practice. Steven speaks eloquently about how his spiritual training taught him the importance of truly seeing – of paying attention to the world around him. He draws parallels between Moses noticing the burning bush in Exodus and the photographer’s task of slowing down and truly observing. During our conversation, Steven shares insights about his gear preferences, his approach to composition and light, and how he engages with his subjects on the street. We’ll explore how his lifelong dedication to connecting with people has shaped his ability to create images that tell compelling stories. Whether discussing his fondness for his Leica Q3, the photographers who inspire him, or the spiritual dimensions of his creative practice, Steven offers thoughtful reflections on what makes photography meaningful. Join us for a conversation that explores the intersection of spirituality and street photography, the joy of discovering beauty in ordinary moments, and the transformative power of truly learning to see. Links From the Show Steven’s Website Steven’s Instagram Steven’s Vero David Camany on Fred Herzog

I’m pleased to share my recent chat with Daniel Sakheim. Dan is a television director and producer known for his work on shows like “True Detective,” “The Americans,” and “Better Call Saul” and he is also a very talented street photographer. I’ve been trying to get Dan on the podcast for a while, and I’m glad it finally worked out. We had a great conversation about his journey into photography, how his directing work influences his photographic vision, and his project, “City Unseen.” Key Takeaways Dan talked about how LA isn’t really recognized as a street photography hot spot like New York or London. But there’s a vibrant community there, especially within Julia Dean’s collective, which Dan co-directs. It’s inspiring to see artists driven by passion, documenting their city without much financial incentive. He mentioned LA is like a collection of cities, each with its own distinct vibe, offering endless opportunities for unique street shots. Behind the Scenes Dan also shared how he got into photography after the 2008 writer’s strike gave him time to explore a creative outlet. He audited classes at Art Center and struggled for six years before taking a photo he didn’t hate. I found that so relatable because sometimes the most rewarding things take time. He eventually found inspiration in downtown LA, drawn to the old movie palaces and their history, which led to his “City Unseen” project inspired by film noir. Dan shared was how “City Unseen” started with a photo, titled *Salaryman, *that he took in Tokyo. Walking around Shinjuku late at night, he captured a salaryman at a noodle shop, and it reminded him of classic noir films. He started watching every noir film and really getting into that style. The project has been exhibited in galleries in London, New York, and LA, and he’s working on turning it into a book. He talked about how he often scouts locations and does light studies like he would for a TV shoot. Then, he finds an interesting background and waits for something to unfold. For example, the tram shot at the Getty Center took five attempts to get right. We also got into the impact streaming has had on TV, with Dan giving his perspective on how it gives more freedom but also creates a lot of pressure. The Art of Seeing What Others Miss In a world that’s forgetting how to truly see, our new book “Where The Streets Lead” invites you to rediscover the overlooked beauty of ordinary streets. Curated by Ashley Riffo and Bob Patterson, featuring work from renowned photographers from around the globe. Learn More What’s Next Check out the full podcast to hear all of Dan’s insights and stories. If you haven’t seen his work, head over to his website danielsackheim.com or his Instagram @daniel.sackheim Links from the show Dan’s Website Instagram IMDB Julia Dean’s Street LA Collective Projecting LA

In this episode, Ashley Riffo and I welcome back Pia Parolin. We talk about how making your work more personal actually makes it connect with more people on a deeper level. It’s a concept, while is as old as Aristotle, been brewing in my mind for a long time, and we’re excited to explore it with you. Key Takeaways Pia shared insights from Susan Sontag and her own experiences, like her series on the Promenade des in Nice after a terrorist used a truck to kill 86 and injure over 400  people celebrating Bastille Day.   Her photos, seemingly light and colorful, carried a heavy message of resilience and reclaiming happiness. It really underscored how personal experiences, when channeled through art, can speak volumes. We touched on balancing personal expression with leaving space for others to project their own emotions onto your work. Think about those moments when you’re truly present, capturing genuine interactions. That’s where the magic happens, and those images? They speak volumes without a single word. Behind the Scenes One of the things that struck me most was Pia’s vulnerability in sharing her series about her daughter’s adolescence. It was a tough time for both of them, but turning it into art became a love declaration. It’s a reminder that sometimes, the most challenging moments can yield the most meaningful work. I also brought up Sam Abell’s powerful photo of his father with Alzheimer’s. It’s intensely personal, yet universally relatable because it talks about family and memory. Since Pia’s article last year, Ashley and I have been seeing this everywhere, and we didn’t even realize it. It’s kind of cool when that happens, isn’t it? What’s Next Listen to the full episode. Pia shares practical tips to infuse your work with personal meaning and tap into universal themes. Look for those interactions that everyone understands. A smile, a loving touch, a child gazing at their mom—these are universal moments that resonate deeply. Links from the show Pia’s Website Pia’s Journey YouTube Channel Pia’s Street Photography Magazine Article: From Personal to Universal Where The Streets Lead – Street Photography Magazine’s new book

I’m thrilled to share something Ashley Riffo and I have been pouring our hearts into for over a year: our first book, Where the Streets Lead! It’s been a wild ride, full of unexpected turns and steep learning curves. After publishing a digital magazine for 12-years we wanted to create something tangible, a legacy of sorts, to celebrate street photography and the incredible community around it. And we wanted to use this special episode of the podcast to tell the story of our book creation story to help others learn from our experience and avoid the mistakes we made. Of course we would also love for you to be among the first to grab a first edition. Key Takeaways One of the biggest things we learned is how much we didn’t know when we started! From the surprising amount of work in selecting images, to wrangling large files, to navigating the world of printing, it has been something. For example, we originally asked photographers to submit full-resolution images, which flooded our drives with more data than we needed well before the selection process. That’s not an issue for someone creating a monograph, but smaller images are a must for an initial open call for submissions. If you’re thinking about doing a book, start with a solid theme that resonates with you and your community. For us, it was “Where do you like to shoot?” This theme allowed people from all walks of life to share their unique perspectives. Plus, physical prints slow you down and let you see the images in a whole new light, which you can’t get online. Behind the Scenes Ashley and I are about 800 miles apart, so this whole project was powered by Zoom, shared galleries, and a lot of trust. We took online courses from Magnum photographers Alec Soth and Mark Power, which completely changed how we thought about sequencing. We literally taped hundreds of photos to our walls and moved them around until the story flowed. Then we shared our thinking via photos, videos and online galleries. Finding a printer was another adventure. We wanted high quality without breaking the bank, which led us to a digital press that delivered amazing results. We even debated whether to include the photographers’ stories, but after a test print, we realized the text was essential. It added depth and context, making the book more than just a collection of pretty pictures. The podcast episode was recorded while we were awaiting delivery of the first batch of the books. You will hear us discussing (and even stressing a little) over how the quality of the final version. Well, they arrived right on schedule and I was super impressed with the physical quality of the book and, of course, the content. What’s Next “Where the Streets Lead” is now available on our website. This book is a celebration of our community and the unique places that inspire us. By purchasing the book, you’re supporting our work and helping us continue to bring you the best in street photography. So sit back and have a listen to our story, then head over to our new online bookstore and grab your copy today. International shipping is available (though a bit pricey, sorry!), and we’ve got boxes ready to make sure your book arrives in perfect condition. Links from the show Where The Streets Lead Order Page Harvey Stein’s Publishing A Photography Book Course (Online) at ICP

I had the pleasure of sitting down with Antonio Pisani. He’s a photographer originally from Italy but now based in the UK, and he has some very interesting insights on street photography. What makes Antonio’s story unique is his journey and perspective. I think you will appreciate his insights. Key Takeaways Antonio shared how his father’s profession influenced him. His father used film cameras in the eighties and nineties. Antonio explained the magic of photography and his independent approach. He always had a clear idea of what he wanted. His father’s work had a subconscious influence. He saw his father developing photos and understood how to explore beyond the technicalities. We dug into the concept of seeing beyond the surface. This is something that Antonio learned from his mentor, Yoshi Imamura. Antonio met Yoshi while working in a retail camera store. They connected over cameras. Yoshi gave him a pinhole lens as a gift which forced Antonio to focus on the art and meaning behind his images, not just the technical aspects. This helped him develop critical thinking and see images with his brain. Behind the Scenes It was really interesting to hear Antonio’s thoughts on social media. He believes Instagram can be a double-edged sword. Antonio chooses to control his images and share them purposefully rather than posting everything online for likes. He aims to create meaningful projects that last. He develops bodies of work that can be exhibited or published. Antonio is preparing several exhibitions in Europe for 2025 and 2026. He’s also working on a book. This takes time and effort, but he optimizes his time and manages his corporate job alongside photography. Antonio believes photography is a calling and a demanding journey. The goal is to develop work that goes beyond day-to-day pictures. If photography is your passion, you’ll keep going. What’s Next Antonio is planning 2025 workshops and master classes. He likes to teach the art of slowing down and being present. These classes cover theoretical and practical aspects. The goal is to develop themes and projects, print your work, and share your images. And he’s always open to discussing gear, black and white photography, and his choice of Pentax and Ricoh cameras. Be sure to check out the full episode to hear more from Antonio. Keep shooting, keep exploring, and stay tuned for more inspiring conversations. Links from the show Antonio’s Website Antonio’s Instagram Willem Flusser’s “Towards a Philosophy of Photography” Marshall McLuhan Sebastiao Salgado Claudia Andujar

Michele Zousmer, the featured photographer in the March 2025 issue of Street Photography Magazine is a San Diego-based humanitarian photographer, has dedicated her photographic work to illuminating overlooked communities and challenging societal perceptions. Starting as a sports photographer capturing her son’s basketball games, Michele’s path led her to document stories ranging from women in prison to homeless choir members, ultimately finding her most profound work among Ireland’s Traveller community. For the past seven years, Michele has immersed herself in the Traveller culture, gaining unprecedented access through an approach that prioritizes human connection over technical perfection. “I literally talk to them. It’s almost like a game,” she explains. “What mascara are you wearing? I’m not kidding. We just like talking makeup on the side of the road.” This seemingly casual approach belies a deeper purpose. Through her recently published book “Mis[s]understood,” she reveals the complex realities of a marginalized community facing widespread discrimination. Her photographs capture both the vibrancy of Traveller culture and the challenges they face, particularly in education and housing. “The more I got to know them, I came back many times,” Michele reflects. “I actually thought that they have a lot of traditions that we’ve lost in America. They are so family oriented. Everything is family. They live together as family. All the generations live together.” Her work with the Voices of Our City Choir in San Diego demonstrates similar depth of connection. What began as documenting a homeless choir led to an intimate film project when choir member Steven Reed asked her to document his final months battling liver cancer. Despite initial hesitation due to her own experience with loss, Michele agreed, creating “Sounds of the Sidewalk: A Journey of Goodbye.” The resulting film not only honored Reed’s story but helped change perceptions of homelessness. “I really feel that way, and I see the world that way,” she says of her approach to humanitarian photography. “I think vulnerability is so important, and I’m always very open and vulnerable. I could be vulnerable with my people that I’m relating to, but I do think you have to be careful who you share it with.” This philosophy has earned her the trust of communities often wary of outsiders, resulting in intimate portraits that challenge viewers to see beyond stereotypes and recognize our shared humanity. This is only part of Michele’s story, so please be sure to listen to our conversation. You won’t regret it. Links from the show Michele’s Website Michele’s Instagram Joseph Bevillard Instagram Voices of our City Choir – San Diego Michele’s film: Sounds of the Sidewalk: A Journey of Goodbye

Eric Turibio, known in the photography community as Ribsy, brings a distinctive approach to street portraiture that emphasizes genuine human connection over technical perfection. Originally starting his photographic journey through food photography, Ribsy has evolved into a committed film photographer who primarily works with medium format cameras to capture compelling portraits of New York City’s inhabitants. In his conversation with Street Photography Magazine, Ribsy discusses how confidence shapes his street photography practice. Rather than adopting the fly-on-the-wall approach favored by many street photographers, he engages directly with his subjects, often approaching them with straightforward requests like “You look really interesting sitting right there. Can I get a photo of you?” This direct method, combined with his authentic interest in how people fit into their environments, has become his signature style. Working primarily with a Yashica 124G medium format camera, Ribsy carefully balances his artistic vision with the practical constraints of film photography. Because there are only 12 frames per roll of 120 film, he makes each interaction and composition count. This deliberate approach extends to his creative process – he describes street portraiture as emotionally demanding work that requires specific mental preparation and dedicated time alone to achieve the best results. Despite relocating from New York City to the Hudson Valley and balancing photography with family life and a full-time career, Ribsy maintains his commitment to documenting the city’s diverse population. Through his YouTube channel and various social media platforms, he shares not only his photographic work but also insights into his process, helping other photographers understand the nuances of street portraiture while maintaining an authentic approach. Links from the show Ribsy’s Instagram Ribsy’s YouTube Ribsy on Walkie Talkie

Our guest tis week is Dean Hinnant, the Street Photography Magazine featured photographer in the January 2024 issue. Dean’s journey as a photographer centers on an intimate, ongoing documentation of his five siblings. The oldest of six children spanning nearly two decades in age, he transforms his role as big brother into a powerful creative force through his project titled “Blood.” The project gained deeper meaning following his parents’ divorce, which spurred Dean to focus his lens on preserving and exploring the unbreakable bonds between siblings. Armed with his Leica M6 TTL – a camera with its own remarkable history as the former tool of National Geographic photographer William Albert Allard – Hinnant captures both candid moments and environmental portraits that tell the story of his family’s evolution. Dean developed his distinctive photographic voice during a six-month road trip across America in 2021, documenting the country’s emergence from the pandemic. This experience honed his ability to see beauty in everyday moments, a skill he brought home to his family photography. Despite living in different cities and coordinating around split holiday schedules, he never goes anywhere without his camera, ready to capture those in-between moments when his siblings come together. His approach emphasizes trust and respect, allowing his subjects to be themselves while acknowledging their individual paths. This philosophy has led to a collection of images that resonate beyond their personal context, speaking to universal themes of family bonds, growth, and shared history. From his firefighter brother’s wedding to his youngest sister’s budding interest in photography, Dean captures the evolving dynamics of siblinghood with remarkable authenticity. Working exclusively in film, Dean’s project stands as a testament to photography’s power to preserve not just moments, but the complex emotional landscape of family life. His work reminds us that sometimes the most universal stories are found in our most personal connections. Links from the show Dean’s Instagram Pia Parolin’s article From Personal to Universal The Traveling Photographer’s Manifesto by David Hobby Dotan Saguy’s project Nowhere To Go But Everywhere

I recently had a very interesting chat with Jeromie Stephens, a talented photographer who’s been documenting the world of bluegrass for many years. If you love the candid, authentic moments in music or on the streets you need to check out the work of our guest Jeromie Stephens. In today’s episode Jeromie and I dig into everything from street photography to the art of catching those spontaneous, off-stage moments that capture a musician’s spirit. Jeromiestarted off wanting to be a photojournalist, but through his love of music and being inspired by the legendary Jim Marshall, and ended up immersing himself in the world of bluegrass. This shift took him on adventures to festivals and even led him to photograph the 52nd annual Takarazuka Bluegrass Festival in Japan. I first met Jeromie several years ago during a photowalk sponsored by our local camera store. Through this experience I was able to see him work first-hand create interesting compositions with his awareness of shapes in candid scenes then approach complete strangers with kindness and a sincere interest in them to make very personal portraits. One of the things that really stands out about Jeromie’s music work is his preference for capturing the candid, fleeting moments over posed performances. He sees photography as a combination of preparation and spontaneity, much like music itself. This approach allows him to blend into the background, catching the genuine interactions of musicians without disrupting the flow. It’s all about the art of invisibility. Jeromie has this wonderful habit of sharing prints with musicians, which not only builds goodwill but also strengthens the connections within the bluegrass community. He believes in the power of printed photographs, and how they hold a personal touch that digital images just can’t replicate. As a testament to his strong relationships with the musicians he photographs, Jeromie received the 2024 Photographer of the Year Award from the International Bluegrass Music Association. I hope you enjoy the podcast as much as I enjoyed chatting with Jeromie. Links from the show Jeromie’s Website Instagram Alysse Gafkjen – Music Portrait Photographer Jim Marshall – Legendary Music Photographer

In today’s episode I speak with Naeem Douglas, who is our featured photographer in the December 2024 issue of Street Photography Magazine. He’s a former broadcast television journalist who found a new passion in photography. After burning out from the repetitive world of crime reporting, he discovered the calming effect of photography during the pandemic. He’s now a content producer for MoMA Magazine who revels in the creative freedom and objective storytelling the role offers. A native of Philadelphia now in Brooklyn, he compares life in the two iconic cities. He reflects on the neighborhood pride, distinctive accents, and, of course, the food. Armed with a Rolleiflex camera, inspired by photographers like Amy Touchette and Vivian Maier, Naeem prefers to engage with his subjects rather than sneaking a couple shots and moving on. This approach has led to some memorable encounters, including a brush with the legendary Bill Cunningham. However, the streets aren’t always friendly, as Naeem learned when a man dressed as Scottie Pippen refused a photo. In his role at MoMA jumped into the world of podcasting with the limited series “Jazz in the Garden,” a captivating exploration of jazz history at MoMA from the 1960s to 2019. If you love jazz, don’t miss it. Naeem experiments with both digital and film photography, developing black and white film at home while has color processed by a lab. His dedication to the craft is evident in his meticulous record-keeping and desire to dabble in darkroom printing. Despite the rise of AI editing tools, Naeem prefers the authenticity of analog photography. If you’re inspired by stories of transformation, creativity, and connecting through story telling be sure to have a listen to my conversation with Naeem Douglas. Links from the show Naeem’s Website Instagram

Editor’s note: Today’s episode is a reply of our very first podcast episode with guest Glenn Capers published in November 2014. To this day, Glenn is one of our all-time favorite photographers as is this conversation. Sadly, Glenn passed away three years later. He was a brilliant photographer, inspirational teacher and an all around super cool guy. Don’t miss our conversation. Glenn Capers was more than just an outstanding photographer; he was a storyteller. Glenn had a personable way with his subjects that allowed him to really get to know them and find out their story. Perhaps that is what made his work special. Glenn was originally from New York, though he later called Colorado home. In his career, Glenn was a professional photojournalist, cinema and landscape photographer, and he even took photographs for the Associated Press. He spent much of his time traveling and teaching street photography and journalism around the world. Glenn believed that to be a good photographer, you needed more than just the right techniques and a good camera. Instead, Glenn talked to his subjects. More importantly, he listened to them. He felt that when people were given the chance to tell their story, they validated their reason for living. For this noble reason, Glenn met people, talked to them, visited their homes, and captured their moments. Connecting with people, and freezing those important moments in time to share a person’s story with the world was not just his goal, it was his specialty. In our inaugural episode nearly 10 years ago Glenn shared some interesting experiences and stories, as well as some insight into his methods as a street photographer. A Selection of Glenn’s Photos Superman a Super Seamstress Healing Hanks Woman on a Pilgrimage Mango Blade Runner Why Men Like Women on Poles and Pink Cadillacs The Untaught Lessons of Life Workers of Bone Yard in Mumbai The Ritual Along the Palace Wall Immaculate Conception Encounters at the Sidewalk Cafe Don’t Miss Glenn’s Photo Projects A Day in the Life of Superman Holy Week Chronicale Healing Hands

In this episode, I share my engaging conversation with photographer, curator, and publisher Michael Rababy about his upcoming book, “CASINOLAND, Tired of Winning.” Set to release on November 5, 2024, in independent bookstores and on Amazon. This work which is the result of a 30-year personal photo project, offers a unique and witty visual perspective on American casino culture. The Concept Rababy explains, “The concept of the book is to contrast casino commercials that promise you the world versus the visual reality that I translate when I’m at these locations all over America. It’s not just Vegas but Atlantic City, Reno, and basically any casino area I’ve stumbled across in the last 30 years.” “CASINOLAND: Tired of Winning” presents a satirical yet poignant look at the casino industry. Rababy juxtaposes cheap, gimmicky marketing slogans with real-life images, creating a stark contrast between promise and reality. For instance, one spread pairs the phrase “You’re Going to Need a Bigger Wallet” with a photo of a overwhelmed man managing four young children in a casino parking lot. A Visual Journey The book spans 160 pages, featuring images from Rababy’s 30-year archive. It offers a fresh take on consumerism and gambling culture across the United States, presenting a glitzy yet gritty universe of American casinos. The Publishing Process As an experienced publisher, Rababy shared insights into working with authors, designers, and promoting visually rich books. He’s planning an upcoming exhibit of selected photos from “CASINOLAND,” which will include high-quality images and an AI-generated casino ad. Self-Publishing vs. Traditional Publishing We discussed the pros and cons of self-publishing versus traditional publishing, a topic particularly relevant as Street Photography Magazine prepares to publish its first book. Rababy’s plans for international distribution and exhibitions in Asia highlight the complexities of book promotion and distribution. Long-Term Projects Rababy also touched on the challenges of crafting long-term projects like “CASINOLAND” and “America Bachelor,” offering valuable insights into the creative process. Artistic Influences and Commitment to Quality Inspired by legends like Dorothea Lange and Ansel Adams, Rababy emphasizes the importance of capturing fine details in person. He’s committed to producing high-quality fine art prints, learning from experienced printers, and using premium materials. Early Access and Bonus Content While “CASINOLAND: Tired of Winning” won’t be widely available until November 5, readers can purchase a copy now from Michael’s website. These early copies will be signed by the author and include a bonus print. Links from the show Michael’s Website CASINOLAND:Tired of Winning on Michael’s website

In today’s episode we welcome award-winning Swedish photographer Johan Jelbo. Fresh off his win of the series competition at the first annual Dublin Street Photography Festival, Johan discusses his use of flash photography on the street journey, insights, and future endeavors in the realm of photography. Johan’s love affair with photography began with simple compact cameras, but his passion soon evolved into a serious pursuit of street and portrait photography. Inspired by legendary photographers like Bruce Gilden, Johan transitioned to using flash, mastering its technical aspects and using off-camera flash. His approach brings an edge to his candid shots, setting his work apart in the increasingly crowded world of street photography. He spent over 10 years of documenting the rural markets of southern Sweden where honed his street photography skills. This project culminated in the publication of his book “Stranger Than Fiction,” which documents the evolution of these events from a “sins nest” to what are now tame venues for family outings. In the process the project reveals the evolution of Johan’s own style. Along the way this work raises ethical considerations, such as photographing children and obtaining consent at public events. A passion of Johan’s is his involvement with the Full Frontal Flash collective, a group dedicated to street photography using flash. Despite the challenges of project coordination, this collective has pushed the boundaries of traditional street photography, bringing new perspectives and techniques to the forefront. Johan shares the emotional process of creating a photo book. As for the future he has a desire to to take on new projects and continues to share his journey with his social media audience. And he currently has work exhibited at the Arbetets Museum Norrköping Sweden through January 2025 Links from the show Johan’s Website Instagram Full Frontal Flash Collective Website Arbetets Museum Norrköping

I love night street photography, which is why I was thrilled when Ashley Riffo, our editor, landed an interview with our , Bal Bhatla, aka Mr Whisper who is also the featured photographer in Street Photography Magazine’s October 2024 issue. Recently Ashley and I sat down for a very lively conversation with Bal who is truly a class act. He’s a London-based commercial photographer famous for his nighttime photography, to share his journey from being a digital creative director to a full-time photographer. His early recognition on Instagram, thanks to his striking nighttime images of the London Tube, launched him into the limelight, leading to prestigious brand collaborations with names like Netflix, Disney, BMW, Fujifilm, Google and others. During our conversation he digs into the art of capturing candid moments using natural light at night, offering us invaluable tips for successful night street photography. I enjoyed his common sense insights into using available lighting at night, the nuances of ISO settings, and the advantages of prime lenses. Under the banner of Mister Whisper Productions, Bal expertly juggles commercial assignments with personal projects. He emphasizes the importance of maintaining artistic control while meeting client expectations which can be a very delicate balance that many photographers often struggle with. His newly-released book, “London After Dark,” which documents London’s nightlife from 2010 to 2024, is a must-have for anyone who wants to up their nighttime urban photography chops. In addition to the technical aspects Bal opens up about the personal side of his creative journey. From the support of his wife, to the challenges of self-promotion on social media, Bal’s anecdotes are both relatable to any of us. He advocates for authenticity and consistent posting, a practice that has garnered positive engagement for his work. As Mark Twain once said, “be yourself, everyone else is taken.” That pearl of wisdom has served Bal well. So join us Ashley and me on this episode of the Street Photography Magazine podcast for an engaging and fun conversation with Bal Bhatla. Find some inspiration, learn new techniques, and dip your toe into the world of night street photography. Links from the show Bal’s Website – Mr Whisper Productions Order Bal’s book London After Dark Bal’s Instagram

Our guest this week is Karlynne Wintels who is also the featured photographer in the September 2024 issue of Street Photography Magazine. Originally from the Netherlands, she had been living in Singapore with her family over the past several years. When we spoke to her several weeks ago she was packing to move back to her home country. Karlynne has always had a passion for photography, even back in 2006 during a family trip to Cuba when she unknowingly captured street-style images with her father’s Nikon. About ten years ago she moved to Tokyo, where she dabbled in urban photography, focusing on shapes and textures rather than people. It wasn’t until her big move to Singapore that things took a serious turn. In 2020, after a corporate shake-up combined with the pandemic, Karlynne decided to dive headfirst into photography. She enrolled in a part-time diploma course to learn the technical side of things because she was mostly shooting in automatic mode before that. This course opened her eyes to the world of photography, and she connected with some amazing people along the way. During her time in Singapore, Karlynne really honed her street photography skills. She became part of the Women in Street Singapore community and took part in their local exhibitions. Her photography focuses on capturing candid moments, often portraying the beauty of everyday life, whether on the streets or with families. She’s drawn to those real-life in-between moments, like a mother comforting her child or a spontaneous laugh between family members. She applies her street-style approach in her family photography business. Karlynne offers a “day in the life” service where she documents families in a natural, storytelling manner. She believes in capturing those intimate, sometimes overlooked moments that represent family life. Her clients often express gratitude for her work, which she finds incredibly rewarding. Karlynne also embraces the artistic side of photography. She’s been experimenting with both color and black-and-white photography, and she takes great care in curating her online galleries, often telling a story through the images. This ability to see the narrative in her photos really sets her apart. Now that she’s back in The Netherlands, Karlynne is looking forward to reconnecting with her roots and is eager to see how her photography will evolve in a new environment. Karlynne Wintels is a storyteller who captures life in all its beautiful, messy glory. If you’re curious about her work, you can find her on her website, kwphotography.com, and check out her Instagram for a peek into her creative world. Street Photography Magazine subscribers can read Ashley’s in-depth article about Karlynne and a sample of her work when it’s published on September 1. Watch your email box for the the notice. Links from the show Karlynne’s Website Instagram Faebook

Today on the Street Photography Magazine podcast, we have a fascinating guest who I met in an unusual way – Lynne McPeake, a retired graphic designer and photographer from the Peak District in the UK. I first crossed paths with Lynne during my travels to Iceland, the Faroe Islands, and the Scottish Shetland Islands early this summer. It was in Shetland – inspired by the TV show “Shetland” – that I stumbled upon the Shetland Museum & Archives in the town of Lerwick showcasing Lynne’s 1971 documentary-style photography of dock workers. Her work was so compelling, it led to our conversation that you will hear on this episode. Lynne’s journey into photography started with a simple Kodak Brownie camera she received at age eleven. From there, she honed a unique artistic approach by blending her love for drawing and photography. She’s experimented with movement and multiple exposures, bringing a dynamic edge and painterly style to her photos. During the Covid pandemic, Lynne found herself diving into old black and white negatives, which caught the attention of her friend Colin Smith and photographer who showed the work to the Family History Society in Shetland. This sparked the idea for an exhibition featuring Lynne’s work about local subjects. With support from Smith, and local fine-art printer Lynne creates a display of 18 framed images for her one-woman exhibit at the museum. As a result of the exhibition Lynne has reconnected with subjects from her old photos, like a 71-year-old former dock worker reminiscing about his crane-operating days. Throughout our chat, Lynne shares her artistic journey, touching on everything from her time in art college to her recent experiments with intentional camera movement (ICM) and an inspiring online course with photographer Charlotte Bellamy. She’s got some exciting projects lined up, including an exhibition in Derbyshire titled “A Different Point of View,” where her photos will be showcased alongside a friend’s paintings. Lynne believes in the power of drawing to enhance observational skills, which translates beautifully into her street photography. Lynne’s insights and experiences demonstrate that old work never dies. Give the show a listen to learn from her passion and creativity. A selection of Lynne’s work Links from the show Lynne’s Instagram Shetland Museum & Archives

Our guest this week is John M. Simpson the featured photographer in the of August 2024 issue of Street Photography Magazine, who brings a wealth of experience and a unique perspective to street photography. A retired history professor and former military man, John’s journey into photojournalism began with a simple thought: “I can do a better job.” This led him down a path that included multiple embedments as a photojournalist in Iraq and Afghanistan during intense periods of conflict. John’s approach to photography is deeply personal and driven by a desire to tell important stories. His current focus is on documenting the lives of homeless individuals in Olympia, Washington. What sets John apart is his commitment to spending time with his subjects, getting to know them, and approaching his work with genuine respect and compassion. In our conversation, John shares insights from his experiences as an embedded photojournalist and how that informs his current work. He emphasizes the importance of building trust, getting close to subjects, and letting photographs come to him rather than actively hunting for shots. John’s work isn’t just about capturing images – it’s about shedding light on important social issues and giving a voice to those who are often marginalized. His passion for his subjects and his craft comes through clearly in our discussion. Whether you’re interested in street photography, photojournalism, or simply hearing from someone with a unique life story, I think you’ll find our conversation with John engaging and thought-provoking. Give the podcast a listen – I’m sure you’ll come away inspired by John’s dedication and perspective. Links from the show John’s work on Social Documentary Network

Our guest today is Brooklyn native, Gretchen Grace, a fascinating street photographer whose journey in photography began with a high school class that sparked her passion. since then she’s been capturing the street scenes of New York City for decades. Gretchen recently published a book called “Two Way Street” that showcases her unique vision. It’s an interesting mix of her classic black and white film work from the ’90s and early 2000s, alongside more recent color abstractions she’s been working on recently. This blend gives us a peek into how her style and perspective have evolved over time. What I really like about Gretchen is her ability to find those “moments of the everyday” – those little slices of life that might seem ordinary at first glance, but become something special upon looking deeper. She has a knack for spotting those in-between moments that tell a story all their own. Gretchen’s background in design has influenced her photographic eye, especially in her more recent abstract work. She describes these pieces as “photographic paintings.” Throughout our chat, Gretchen’s love for New York City and its endless parade of characters and moments is obvious. Whether she’s wandering familiar streets or exploring new corners of the city, her enthusiasm for capturing the essence of urban life is infectious. She continues to push the boundaries of her art, experimenting with new techniques and emphasizing human connection in seizing the “indecisive moments” that define her work. So join us as we explore the world streets of New York through Gretchen Grace’s eyes. Links from the show Gretchen’s Website Instagram Two Way Street

Russell Banks, the featured photographer in the July 2024 issue of Street Photography Magazine, is a street photographer known for documenting life aboard cruise ships. His visual narratives about passengers and crew have allowed him to carve out a unique niche. Russell’s interest in photography began in childhood when capturing moments on film sparked a lifelong passion. This early fascination guided him through an education that started with an English major and evolved into photojournalism, allowing him to explore the combination of narrative and imagery. At the University of Texas in Austin, he had the opportunity to study under Garry Winogrand, who greatly influenced his personal style and approach, which is evident in his work today. Before presenting his work to the market, Russell attended esteemed portfolio review events like FotoFest in Houston. The feedback he received from publishers and photo editors confirmed the potential of his cruise ship project. So, he began showcasing his work to publications and galleries. His hard work resulted in a solo exhibit in Golden, Colorado, another at the Viewpoint Photographic Gallery in Sacramento, California, and a feature story in Street Photography Magazine. Russell also discusses the process of preparing his work for these exhibits, a task that requires meticulous attention to detail, from printing large-format images to handling shipping logistics – a process that is not inexpensive. As my business mentor once said years ago, “don’t wait for the phone to ring,” that’s a motto that Russell applies to promoting his own photography. He adeptly researches potential exhibition venues, identifies key contacts at publications, crafts personalized pitches, and maintains an active online presence. He approaches the business side of photography with the same dedication as his art. Segments 01:25 Early Photography JourneyExplore Russell’s early days with a camera, from childhood snapshots to his transition into more serious photography during his college years. Discover how his interest in literature and music influenced his path to street photography. 04:03 Influence of Gary WinograndDelve into Russell’s experience studying under Garry Winogrand at the University of Texas. Learn about the impactful teaching style of Winogrand and how it shaped Russell’s approach to photography. 06:40 Venturing into Cruise Ship PhotographyFollow Russell’s journey into using street photography techniques on cruise ships. Explore the challenges and unique opportunities of capturing moments in the quirky environment of a cruise ship. 12:12 Developing a PortfolioDiscover how Russell evolved from capturing images to curating a portfolio of his cruise ship photography. Learn about his process of selecting and presenting his work for exhibitions and reviews. 18:08 FotoFest ExperienceJoin Russell on his transformative experience at FotoFest in Houston. Explore the valuable feedback and insights he gained from industry experts and how it accelerated his artistic progression. 25:15 Preparation and PresentationMeticulous preparation and presentation techniques Russell employed for FotoFest. Learn about the importance of being well-prepared and organized when showcasing your work to reviewers. 59:00 Preparing for Solo ExhibitionsRussell Banks shares his experience developing a portfolio and entering exhibitions, leading up to his decision to pursue solo shows. He discusses the process of refining his work, submitting to various exhibitions, and finally landing opportunities for solo exhibitions. 01:00:03 Navigating the Logistics of ExhibitingRussell delves into the practical aspects of preparing and shipping prints for exhibitions. He shares insights on matting, packaging, and shipping large prints, highlighting the challenges and considerations involved in showcasing artwork in different venues. Links from the show Russell’s Website Floating World – Street Photography Magazine article by Russell Instagram

Kenneth Wajda, a commercial and editorial photographer from Colorado, enjoys making street portraits in his spare time. His outgoing and friendly nature helps him approach strangers for permission to take their portraits. His secret weapon? A classic Rolleiflex TLR camera, which he describes as the perfect icebreaker. Kenneth has written an article about his experience with the Rolleiflex camera for Street Photography Magazine, set to appear in the June 2024 issue on Sunday, June 23. In today’s discussion, Kenneth shares his approach to street portraiture using the Rolleiflex and Ilford HP 5 film, his settings for different lighting conditions, and his preference for shooting in sunlight. He stresses the importance of engaging with people on the street, sharing experiences from various locations like flea markets and small towns. A key insight from our conversation is Kenneth’s mantra, “The muse exists, but she has to find you working.” This means that inspiration will come when you start working. Kenneth, also involved in movie production, uses a copy stand and a Nikon DSLR to photograph negatives for digital use, finding this method more effective than dedicated scanners. Kenneth recently founded the Rolleiflexers Collective to showcase the work of photographers documenting street life with the Rolleiflex camera. The group aims to share their work and inspire each other. He strongly believes in the value of meetups, events, and competitions as platforms for photographers to showcase their work and build community. Kenneth also emphasizes the importance of printing your work and finding ways to publish it, even if it means self-publishing through a zine or book. Quick crappy snapshot by Bob Patterson Links from the show Kenneth’s Website Rolleiflexers Collective Kenneth’s Street Photos