Street Shots Photography Podcast

“Your photography is a record of your living, for anyone who really sees.” – Paul Strand "We are judged, not by the photographs we take, but by the photographs we show." – Ted Grant   In this episode, Antonio and Ward move from recent shoots into a thoughtful conversation about what photographers are really responding to when they raise the camera. Antonio shares his growing excitement around astrophotography, from capturing Jupiter’s moons to photographing the Orion Nebula for the first time, and how even familiar subjects feel personal when you experience them firsthand. He also talks about a recent portrait session that reminded him how much intuition, pacing, and human connection still matter in photography, no matter how advanced the tools become. The heart of the episode revolves around a simple but powerful idea: photographers often end up photographing their own temperament. Ward reflects on how darker, moodier work in Japan drew him in based on what he was feeling and noticing in the streets, while

"The Chinese have a theory that you pass through boredom into fascination and I think it's true." ― Diane Arbus “If only we could pull out our brain and use only our eyes.” ― Pablo Picasso In this episode, Antonio and Ward talk about what happens when your photography starts to feel flat, and why boredom isn’t always a bad thing. They kick around the idea that boredom can be a signal to slow down, stop forcing work, and let your eye reset on its own. The conversation also touches on how the camera can act as a kind of shield, especially when photographing difficult or emotionally loaded situations, and how that distance affects both the photographer and the images being made. The second half of the episode turns to color, specifically dye transfer printing and why it still holds so much weight in the history of photography. Using photographers like William Eggleston, Irving Penn, Joel Sternfeld, and Ernst Haas as touchstones, they talk about how dye transfer created a physical, almost unreal richness that mo

"Passion is in all great searches and is necessary to all creative endeavors." ― W. Eugene Smith “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” ― Scott Adams   In this first episode of 2026, Antonio and Ward ease into the new year by talking about making physical photo objects and what it feels like to see work finally leave the screen. Ward shares the experience of producing a small, full-bleed black-and-white zine from his recent time in Japan, focusing less on explanation and more on mood, sequencing, and how images start to speak to each other once they’re paired on the page. They talk about living with images, resisting the urge to over-edit, and trusting instinct over feedback loops or social media response. The idea of the zine as a tactile object keeps coming up—not just as a container for photos, but as something meant to be held, revisited, and experienced slowly. Antonio then shifts to a different kind of learning curve, talking about taking a drone pilot co

"Don't shoot what it looks like. Shoot what it feels like."       – Unknown/Commonly Attributed  “I am not interested in shooting new things – I am interested to see things new.”     – Ernst Haas   In this year-end episode of Street Shots, Antonio and Ward take some time to reflect on the past year and how their photography has been shaped by it. They talk about recent projects, photo books that left an impression, and how changes in place, access, and pace have influenced the way they see and make pictures. Rather than chasing trends or noise, the conversation leans toward slowing down and paying attention to what feels honest and sustainable. They also discuss using newer tools, including AI-based image critique, as a way to better understand their own work — not for answers, but for reflection. The episode settles into a thoughtful conversation about distance, presence, and the quiet shifts that happen when photographers trust their instincts and give themselves permission to evolve.   Subscribe to our Su

"It’s a weird combination that makes a great picture. It’s a complete mystery to me." -- Alec Soth "A portrait isn’t a fact but an opinion—an occasion rather than a truth." -- Richard Avedon   In this episode, Antonio and Ward reflect on the recent passing of Martin Parr, talking through what they’ve long admired about his work, his move from black-and-white to color, his time at Magnum, and the way he photographed everyday life without smoothing out its edges. The conversation also drifts into a new idea Antonio picked up by accident at a Christmas market in Nebraska, where he connected with a nonprofit that helps formerly incarcerated people train for work in professional kitchens. He talks about why that idea stuck with him and how he’s imagining photographing the space—both behind the scenes and through more formal portraits made in the kitchen itself. Speed skating becomes another thread, with Ward unpacking his weekend shooting a World Cup event in Calgary. Autofocus frustrations, missed shots, and the

"Film has no place in the modern world of fast paced motorsport photography".   "My job is amazing. But it isn't always fun." -- Jamey Price   Ward and Antonio chat with motorsport photographer Jamey Price about his unexpected path from riding racehorses to shooting some of the biggest racing events in the world. Jamey talks about the long, hectic days covering endurance races, the fun and chaos of working with major teams, and how his newspaper days taught him to make even the dull assignments count. He also explains how his new book, Racing Unfiltered: A Year in Motorsports Captured on Film, grew out of playing around with a cheap plastic NASCAR camera that somehow opened more doors than his pro gear ever could. Throughout the conversation, he keeps things grounded, sharing how slowing down, noticing people, and having fun with the process led to some of his favorite moments behind the scenes.   Jamey Price's Website, Instagram, YouTube, and Twitter/X. His new book, Racing Unfiltered: A Year in Motorsports

"Celebrities provide an escape from the mundane. They are photographed so we can worship them—so they are worthy of our worship." -- David LaChapelle "A photographic portrait is a picture of someone who knows he is being photographed." -- Richard Avedon   In this episode Antonio and Ward take on the world of celebrity portraiture — from the classic work of masters like Irving Penn, Avedon, and Karsh to modern takes by photographers such as Platon and Tyrell Hampton. Their discussion starts with Oscar Isaac’s recent GQ shoot and spirals into a larger conversation about what it means to photograph fame: whether we’re seeing the real person or a performance crafted for the camera. They weigh how much control the celebrity, the photographer, and the publication each have in shaping these images, and how context — from lighting to location — turns a portrait into a cultural artifact. The two also reflect on why celebrity portraits endure long after the marketing fades, comparing timeless images like Audrey Hepbur

In this episode, Antonio, Ward, and their guest Dave Szweduik dive into the creative process behind Fujifilm “recipes”—custom in-camera film simulation settings—and what they reveal about each photographer’s way of seeing. Dave shares how he’s been using AI-assisted tools like ChatGPT to generate color and tone profiles inspired by the look of classic film photographers such as Joel Sternfeld. What started as an experiment became a way to simplify his workflow and rediscover his photographic voice. His images—especially a quiet snow-covered church scene—sparked a conversation about warmth, subtlety, and finding cohesion between subject and color, reminding the group how digital tools can still lead to deeply personal results . The discussion then shifts to Ward’s recent Substack essay, The Journey or the Destination, where he explores how photographers view their own work differently than their audiences do. Ward describes “journey” photos as the images that document exploration and process, while “destinatio

In this episode, Ward reflects on photographing his nephew’s wedding with a street photographer’s mindset, describing how he avoided traditional posed shots in favor of authentic, in-the-moment captures. His approach, shaped by instinct and observation, gives listeners a look at how street techniques translate into event photography and how spontaneity can lead to stronger visual storytelling. Antonio shares his experience photographing both the University of Nebraska’s flagline at Memorial Stadium and the Huskers game itself—a whirlwind weekend of early mornings, long hours, and on-field access. He discusses the logistics of working in that environment, from equipment choices and technical challenges to the creative mindset needed to stay sharp under pressure. The conversation explores how returning to structured photography jobs can rekindle that sense of purpose and flow, reminding both hosts why the act of shooting—whether for work or passion—still matters.   Subscribe to our Substack Newsletter Help out

In this episode of Street Shots, Antonio and Ward sit down with photographer Ben Geier to talk about his book Viewing Hours. Ben has been photographing America’s vanishing culture—storefronts, motels, neon signs, and old theaters—bringing a mix of punk DIY energy and design sensibility to the work. The conversation digs into the stories behind his road trips, the role of chance in catching the right moment, and how his photos live somewhere between art and archive. They also get into bigger ideas around nostalgia, memory, and impermanence, weaving in connections to Walker Evans and the Bechers while keeping the focus on Ben’s unique perspective. Antonio relates it back to his own move to Nebraska and the challenge of seeing with fresh eyes. What unfolds is an easy, thoughtful exchange about how personal history, design, and music shape the way we notice and photograph the world. Viewing Hours: America's Vanishing Culture by Ben Geier (Amazon link) Ben Geier's Website and Instagram   Subscribe to our Substack

"The Kodak camera makes possible a collection of photographs which record the life of its owner and which increase in value each day that passes." -- George Eastman "Anything worth doing is worth doing to excess." -- Edwin Land   In this episode, Antonio and Ward turn their attention to the endless pile of photographs that never make it past our phones. You know the ones—the cat sprawled on the couch, the hibiscus in morning light, the wing of the plane at sunrise. They’re not “keepers” in the traditional sense, not destined for printing or portfolios, but they accumulate all the same. Together they ask: are these photos practice, are they souvenirs, or are they just digital clutter taking up space? A conversation unfolds about the meaning of these unseen images and whether their value lies in being shared or simply in the act of making them. They wonder if this personal archive is the modern version of a junk drawer—messy, overflowing, yet somehow indispensable. Is the act of photographing enough on its own

"There is nothing as mysterious as a fact clearly described." -- Garry Winogrand "When someone becomes aware of the camera, it becomes a different picture." -- Robert Frank   In this episode, Ward shares his experiments with nighttime flash—slides, jackrabbits, and all the odd magic that comes with it—while Antonio talks about trying the same, even sneaking a few shots at Memorial Stadium. From there, the conversation shifts to Melissa O’Shaughnessy’s Perfect Strangers, the role of coincidence in street photography, and what it really means to be “lucky” with a camera in hand. Antonio reflects on photographing the Nebraska State Fair and wonders if his pictures are starting to look too much like Ward’s, sparking a back-and-forth on where their work overlaps and where it differs. They wrap things up with some gear talk—Ward’s crush on the Fujifilm XE5, Antonio’s patience for a possible X-Pro 4, and both of their thoughts on the Ricoh GR IV—plus a chat about processing styles and how those choices shape their

"Life is not significant details, illuminated by a flash, fixed forever. Photographs are." - Susan Sontag "I am forever chasing light. Light turns the ordinary into the magical." - Trent Parke   In this episode, Antonio talks about visiting the Cass County Fair in Nebraska, using the trip as a chance to explore how he wants to approach photography in his new environment. Surrounded by the mix of people, animals, and small-town fair details, he leaned into shooting with his often-neglected Fuji X-Pro3 and a wide 16mm lens, embracing the different perspective it offered. The outing became less about documenting the event in a straightforward way and more about experimenting with composition, perspective, and mood to see how his work might evolve outside of Brooklyn. Both he and Ward recently picked up compact Godox iT30 Pro flashes with the intention of using them for street photography, but once out shooting, each decided against firing them. That hesitation becomes the starting point for a deeper discussion

"In a good or successful color photograph, the picture's definition or meaning will somehow arise through the use of color” "Photographs have always been convincing lies." -- Joel Sternfeld In this episode, Ward shares stories from his recent road trip to Saskatchewan, including a visit to a hometown dirt track race—a nostalgic return since his last visit in 1978. The conversation turns toward grassroots motorsports, photography at the races, and how families get deeply involved, even with kids racing $40,000 modified cars. Antonio reflects on settling into life in Nebraska, exploring his surroundings, and using the Fuji X-Half camera as a spontaneous photo companion. He shares how the small, JPEG-only camera has helped him rediscover simple photographic joy, especially during a recent photo class with teens. The heart of the episode focuses on photographer Joel Sternfeld. Antonio and Ward explore Sternfeld’s thoughtful approach to color, how his emotional state influenced his editing choices, and the meticu

In this episode, Antonio and Ward talk about the challenge of photographing in new places. Antonio’s just moved to Lincoln, Nebraska and is still unpacking boxes, figuring out where to store his gear, and trying to spot what’s interesting to shoot in a much quieter environment than New York. He shares how different it feels to look for subjects like grain elevators, small-town architecture, or even backyard birds, and mentions playing around with his Fuji X-Half and a little drone to stay inspired. He also talks about noticing the slower pace of life, meeting friendly neighbors, and thinking about how he might approach more deliberate projects like set-up portraits in a community where people seem more open.   Ward describes his recent nights photographing the Calgary Stampede, explaining how he focuses on close-up, expressive portraits and uses different cameras to stay low-key in crowds. He talks about the energy of the event, shooting into the night with carnival lights, and building a long-term series he

  "Self-discovery through a camera? I am scared to look for fear of discovering how shallow my Self is!" -- Minor White "The voyage of discovery lies not in finding new landscapes but in finding new eyes." -- Marcel Proust   Antonio checks in from Lincoln, Nebraska after making the big move from Brooklyn. He shares the details of packing his life into a neon pink moving truck, driving cross-country with two cats dosed on gabapentin, and figuring out how much actually fits in a Chrysler Pacifica. He talks about the weirdness of seeing his old apartment empty, the relief of arriving without any real disasters, and the first impressions of settling into a new city that feels nothing like New York. He and Ward talk about what it means to photograph in a completely new environment: wide open roads instead of tight city blocks, and how that might change what you look for through the viewfinder. Antonio describes plans to explore local subjects, from the Capitol building to abandoned structures, and discusses wantin

"In each place I have travelled, I have used my camera as an extension of my memory." -- Teju Cole "In photography and in life, always look for the light, if you don’t see it, bring it."  John Waire   In this episode, Antonio records from Brooklyn for the last time before his big move to Nebraska. It’s a reflective and unscripted conversation, touching on the chaos of packing, the emotional weight of leaving, and a perfectly timed rainbow that showed up outside his window. He and Ward talk about the kind of weather that begs to be photographed and how certain visual moments trigger memories of past images—like Ernst Haas’ dramatic skies. Antonio also shares how instant photography is playing a bigger role in his life lately, especially with the Polaroid and Instax cameras he’s bringing on the road trip west. Ward recounts how he unexpectedly became the unofficial wedding photographer at a recent event, armed only with a Fuji XS20 and a 23mm lens. What was supposed to be a casual favor turned into a full-on a

"The limitations of photography are in yourself, for what we see is only what we are." -- Ernst Haas   "A photographic portrait is a picture of someone who knows he is being photographed." -- Richard Avedon   In this episode, Ward opens with a deep dive into his Lightroom library, explaining how “hunting” for decisive moments differs from “fishing” for happy accidents—and proving the point with a newly-found two-way-mirror shot in Japan that almost became digital landfill. The chat drifts into portrait philosophy via Richard Avedon, landing on the idea that real power often comes from stripping a set-up down to tripod, subject, and nerve.   Next up is Fuji’s just-announced X-Half.  Antonio admits he’s already on the preorder list, while Ward likes the film-advance lever but winces at the price.  The boys agree its JPEG-only, half-frame design is less a beginner’s toy than a deliberate hand-cuff for photographers who enjoy working inside tight creative fences—much like the old Fuji GA645 or Antonio’s beloved

  "Photography is truth. The cinema is truth 24 times per second." -- Jean-Luc Godard   "What use is having a great depth of field, if there is not an adequate depth of feeling?" -- W. Eugene Smith   In this episode, Antonio and Ward catch up amid packing tape and camping plans. Antonio talks through the experience of unearthing old cameras—including a pair of Olympus XAs he didn’t even realize he owned—while preparing for his move. The conversation wanders through gear talk, fond memories of a long-lost Forscher Polaroid back, and a reflective look at how certain tools and artifacts carry pieces of photographic history. Meanwhile, Ward shares a bit about an upcoming camping trip and a brief hands-on with Fujifilm’s new GFX camera, which prompts a chat about who these high-megapixel cameras are really for.   Things shift toward the visual language of photography when Antonio brings up the use of shallow depth of field in shows like The Handmaid’s Tale. That sparks a back-and-forth on the emotional and narrati

"It’s more important for a photographer to have very good shoes, than to have a very good camera." -- Sebastiao Salgado "I met somebody at the gallery. And he said to me, I own a photograph of yours. And when I get up in the morning, I look at it and it makes me happy. And I thought that was very nice. It meant I wasn't completely useless." -- Saul Leiter Antonio kicks off this episode with a walk through the 2025 AIPAD Photography Show in Manhattan, talking about everything from classic Ansel Adams prints to wild experimental pieces that blur the line between photography and sculpture. He also shares a fun moment meeting David Scheinbaum from Scheinbaum and Russek Gallery — one of his favorite YouTube follows — and reflects on what kinds of photography really connects with him. Ward jumps in with an update on his Japan photos, finding that after a little time away, the darker, moodier images he hoped for are starting to stand out. He and Antonio get into a great conversation about slowing down, letting your