Street Photography Magazine Podcast

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 th

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