Street Shots Photography Podcast

"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

"I do not try to find myself in what I 'shoot,' but perhaps I want to see the position of the world I am in." -- Daido Moriyama "Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts." -- Minor White In this episode, Antonio and Ward catch up and talk about the trips they each took recently. Ward shares his experience traveling through Japan for eleven days, visiting Tokyo, Hiroshima, and Osaka. He talks about how he planned his photo approach ahead of time, but also how being in such a different place pushed him to adjust on the fly. There’s a lot about the feeling of being there—the quiet streets, the pace of the subway system, the powerful visit to the Hiroshima Peace Memorial, and what it was like photographing during the peak of cherry blossom season. Antonio then talks about a shorter but important trip he made to Lincoln, Nebraska. It was his first time flying in a long while, and also his first

"I don't come as a photographer. I come as a friend." -- Alfred Eisenstaedt "I didn't decide to be a photographer; I just happened to fall into it." -- Berenice Abbott   With Ward heading off to Japan, he and Antonio hand the mic to their friend Keith Goldstein for this special episode. Keith takes over hosting duties and turns the tables by interviewing Antonio during a walk along NYC’s High Line. The two chat about Antonio’s full photography journey—from messing around with an Instamatic as a kid, to working in stock photography, to reconnecting with street photography as a more personal and grounding practice. They talk gear choices, old influences, shifting creative paths, and how life (and loss) can reshape your reasons for picking up a camera. It’s a relaxed, honest, and reflective conversation—captured on a sunny afternoon, with city sounds in the background and a giant pigeon looking on.     Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing

"You know, the camera is not meant just to show misery." "The subject matter is so much more important than the photographer." -- Gordon Parks In this episode of Street Shots, Antonio and Ward dive into the life and legacy of the iconic photographer Gordon Parks. They explore his remarkable journey from humble beginnings in Fort Scott, Kansas, to becoming one of the most celebrated photographers of the 20th century. They focus especially on his influential “Segregation Story” photo series, which captures powerful images of racial injustice in mid-20th century America, emphasizing Parks’ talent for storytelling through visual imagery. Antonio and Ward also discuss Parks’ renowned photograph “American Gothic,” featuring Ella Watson, and how this iconic image vividly illustrated the racial and economic challenges of its time. They touch upon Parks’ successful venture into filmmaking, notably directing the groundbreaking movie “Shaft,” highlighting his unique ability to bridge photography and film to address imp

  Antonio opens this month’s episode with a personal message explaining that it’s going to be a rerun instead of a new show. After losing his beloved cat of 19 years,  Eddie, Antonio just wasn’t in the right headspace to record. He shares how much Eddie meant to both him and his late wife, and why saying goodbye was so tough. For the rerun, Antonio picks a special episode from  October 2022, when Ward visited New York, and they recorded together in person right after seeing the Bernd and Hilla Becher exhibit at the Metropolitan Museum of Art. It’s a meaningful conversation and a reminder of how photography, friendship, and life’s hard moments are all connected. Regular episodes will be back in March.   Show Links: Bernd and Hilla Becher exhibit at the Metropolitan Museum of Art. YouTube videos: Bernd & Hilla Becher Virtual Opening | Met Exhibitions Bernd and Hilla Becher and their 19th and Early 20th-century Precursors with Jeff Rosenheim Bernd and Hilla Becher, Hauser & Wirth Zürich Becher photograp

Walk up to sentimentality but don’t become it. -- Larry Sultan If you like something that someone is doing, tell them!  -- Todd Hido   In this episode, Antonio kicks things off with a hands-on review of the Fujifilm X-M5, a compact, feature-packed mirrorless camera that’s quickly become a favorite. He shares his impressions after testing it during the Lunar New Year celebrations in Chinatown, highlighting its speedy autofocus, convenient film simulation dial, and the nostalgic charm of the silver-top design. While the lack of a viewfinder presents some challenges in bright conditions, Antonio praises the camera’s versatility—especially when paired with manual lenses and a fun little retro flash he recently picked up. Two thumbs up! Ward recounts a recent encounter with acclaimed photographer Todd Hido, who visited Calgary for a public talk. Ward recounts Hido’s approachable, candid style and reveals some interesting behind-the-scenes tricks, like using glycerin on windshields for a rain-soaked effect. They d

"The artist's world is limitless. It can be found anywhere, far from where he lives or a few feet away. It is always on his doorstep." "I think of myself as an explorer who has spent his life on a long voyage of discovery." -- Paul Strand In this episode of Street Shots, Antonio chats with guest co-host Keith Goldstein about the changing world of stock photography and Keith’s book projects. Keith, who’s worked with both Getty Images and Shutterstock, shares his thoughts on their recent merger and how AI is reshaping the stock industry. They talk about the challenges photographers face now, with free image sites and AI-generated content threatening what was once a solid income source for many. The conversation shifts to Keith’s creative work, including his book Manhatta, inspired by the 1921 film of the same name. Keith reflects on the process of capturing stunning cityscapes from the Empire State Building and the ups and downs of publishing the book. He also teases upcoming projects, including photo books on

"I've learned over the years not to make big decisions based on short-term emotions because feelings aren't facts and they will pass or at least change.”   "Give yourself permission to begin again."  -- Sean Tucker   In this first episode of 2025, Antonio and Ward discuss what keeps the creativity alive when the motivation runs on low. Of course, revisiting older work, like photo shoots or journal entries, brings new ideas and gives a feeling of progress. Usually, at moments like this, looking back at those previous efforts brings to the foreground growth that was not as noticeable then. They talk about routines, small habits, keeping the juices flowing, like organizing one's gear or calling into photography groups-little rituals that play an enormous part. Still, they also talk about community, people they have got around them, which they get together with, share their thoughts with, and spark each other where and when it is really needed.   Subscribe to our Substack Newsletter Help out the show by buying

“Which of my photographs is my favorite? The one I’m going to take tomorrow.”  – Imogen Cunningham "Life is my subject matter." – Trent Parke Happy New Year, Everyone! So, in this end-of-year episode, Antonio and Ward just sit down and have a really thoughtful, easygoing chat about everything that stuck with them over the past year—photographers who left an impression, creative shifts in their own work, and the bigger conversations happening in the world of photography. It’s not like a bullet-point rundown or anything, more of a natural back-and-forth about what resonated with them and why. They dive into how certain photographers made them pause and think, how their own styles have evolved over time, and, of course, the growing presence of AI in photography—especially how it’s starting to change conversations around authenticity and the meaning behind an image. They also touch on this balance between preparation and spontaneity, you know, how planning can really shape your creative process, but also how imp

Antonio and Ward kick off this episode of Street Shots by chatting about some recent photography finds. Ward got his hands on a Godox Lux Junior flash, a small, retro-style unit that’s easy to use and sparks creative fun. Antonio talks about his latest book pick, Segregation Story by Gordon Parks, praising the powerful color photos that vividly depict segregation in America. Ward also discovered East Beats, Osaka 1964-1970 by Yoshihiro Suzuki, a street photography collection capturing everyday life in Osaka with a quiet, observant touch. Both books spark thoughtful discussions on how photographers interpret the world through their lenses.   This naturally leads to a deeper conversation about the unique role of photographers—being both distant observers and fully engaged participants. They explore how taking pictures can be a way of connecting while staying somewhat detached, a tricky balance that often leads to compelling images. They also touch on seasonal isolation and how solitude can sharpen creative focu

  In this episode, Antonio and Ward explore the idea of a “color voice” in photography—a personal and intentional use of color that can shape a photographer’s visual identity. They discuss how color choices can influence the emotional impact of an image, creating a mood or enhancing the story being told. From vibrant, high-contrast palettes to more subtle, muted tones, they examine how photographers can experiment with color to reflect their own creative vision and connect with their audience on a deeper level. The conversation focuses on how a photographer’s relationship with color extends beyond editing, involving how they perceive and capture colors in various environments. Antonio shares his thoughts on letting color become a defining feature of one’s style, while Ward discusses how lighting and surroundings can transform the way colors are experienced in an image. Their discussion highlights the interplay between observation, creativity, and intentionality in crafting a photographic voice through color.

“When I photograph, what I’m really doing is seeking answers to things.”  -- Wynn Bullock “If you want to be a better photographer, stand in front of more interesting stuff.”  -- Jim Richardson   In this episode, Antonio and Ward reflect on photography’s unique role in preserving memories and stories. They discuss the importance of visual media literacy, highlighting how critical it is to go beyond just taking photos—to truly “read” images and understand the narratives they capture. Antonio shares his interest in teaching these skills, noting an upcoming workshop designed to deepen understanding in this area. They also touch on how photography serves as a bridge to the past, preserving moments that can evoke powerful emotions or insights upon rediscovery. Through examples and personal reflections, Antonio and Ward examine how images can be more than visual records—they’re a way to keep memories alive, capture personal history, and connect us to our own stories and those of others.   Subscribe to our Substac

  "Serendipity plays an enormous role in my work. I create the possibilities for accidents to happen." -- Robbert Flick   "I’m very interested in the uncanny and a way to find something mysterious or terrible within everyday life." -- Gregory Crewdson   In this episode, Antonio and Ward start, as usual, by discussing recent book acquisitions, including books received by Antonio, such as “Sons of the Living” by Bryan Schutmaat, Fred Hertzog’s “Black and White”, Anne Noggle’s “Flight of Spirit,” and Ward’s order of a book on Japanese female photographers titled “I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now.”    Subsequently, they dive into the aesthetics of the “uncanny” in photography, exploring how certain images evoke a sense of unease and elucidating the potential for these unsettling moments to serve as powerful storytelling devices. Ward shares a captivating photograph taken in New York, while Antonio discusses the significance of presenting students with Garry Winogrand’s

"What I'm always trying to do is to make a picture that goes beyond a story." "If you can shoot on the street, you can shoot anything." -- Mary Ellen Mark   In this episode, Antonio and Ward begin with some "light" conversation about the aurora making a rare appearance in New York. Antonio reflects on the quiet satisfaction of finally catching a glimpse, even though his neighbors’ iPhones seemed to perform better than his carefully chosen Fujifilm setup. It wasn’t just about getting the perfect shot—it was about being part of the moment and feeling connected to something beyond the ordinary. But the episode really finds its rhythm when the conversation turns to Mary Ellen Mark. Both Antonio and Ward admire her ability to disappear into the scenes she captured, especially during her time as the set photographer on Apocalypse Now. They talk about how her photographs of Brando feel less like production stills and more like windows into the very essence of his character, Colonel Kurtz. There’s a shared sense of

"...talking about pictures as though you could tell anybody how to take good ones is nuts. Pictures are given, not taken." -- Robert Adams "The work of a photographer is to reveal hidden things." -- Matt Black   In this episode, Antonio and Ward kick things off by comparing the new iPhone camera to Fujifilm gear, debating whether the latest upgrades really make a difference for serious shooters. From there, Ward talks about his upcoming trip to Japan and how he plans to shoot street photography around Tokyo and beyond, hoping to capture some of the country’s unique character. He also shares his experience using different film stocks like Ilford HP5 and T-Max 100, reflecting on the challenges of exposure and why he’s leaning back toward Ilford for its flexibility and grain structure. They also dig into recent book finds like Bryan Shutmaat’s "Sons of the Living", which documents the gritty reality of the American Southwest, and Anne Noggle’s intimate black-and-white portraits. Antonio highlights Pau Buscató’s

"Photography books often have titles like The Photographer’s Eye or The Vision of So and So or Seeing Photographs — as if photographers didn’t have minds, only eyes." -- Duane Michals “A book is like a piece of music; it has a beginning and an end, but what happens in between is up to you.” -- Stephen Shore   In this episode, Antonio talks about connecting with his new Fujifilm X100VI camera during a photo walk around New York City. He reflects on how much he enjoys shooting with this camera, which feels just right in his hands and helps him capture the energy of the city. As fall sets in and the days get shorter, he’s planning to head back out for some night photography, especially around the bright lights of Times Square. Ward shares his recent experience photographing the Pride parade in Calgary. He usually shoots in black and white but decided to switch things up and capture the parade’s vibrant colors. It turned out to be a lively and colorful event, full of energy and emotion, and gave him a new perspe

"Don't tell your parents where we went” “I’m sort of a spy,” ― Vivian Maier   In this episode, Ward and Antonio start off by diving into Ward's recent exploration of minimalist photography. Ward shares how he has been capturing everyday objects—like cars and sheds—using his phone camera in black and white. His focus is on the "thinginess" of these mundane subjects, turning them into striking images that highlight their presence and simplicity. Ward reflects on how this approach mirrors his earlier work and discusses the surprisingly high quality of prints that could be achieved with smartphone cameras. The conversation moves on to Antonio's recent experience attending a talk by photographer Sean Tucker, who discussed themes from his book, "The Meaning and the Making." Antonio shares insights from the event, highlighting Tucker's emphasis on slowing down and appreciating the process of photography in an era dominated by the rapid pace of social media. This discussion prompts both hosts to reflect on the chall

"For me, vision is an intelligent form of thought." -- Andreas Gursky “Creativity is contagious, pass it on.” – Albert Einstein   In this episode, Antonio and Ward start with reflections on the changing seasons and how it influences their photography experiences. They transition into a discussion about the nuances of teaching Lightroom, where Antonio shares how he successfully engaged his students by incorporating personal insights and broader photography contexts rather than sticking strictly to technical instruction. This approach not only made the classes more dynamic but also underscored the importance of connecting deeply with one's photographic work. The episode also touches on the different ways photographers approach their craft. Antonio talks about his recent discovery of 1,600 untouched photos on his camera, which he hadn’t downloaded for months. Revisiting these images led to a rewarding process of rediscovery, evoking the anticipation and surprise of developing film in the pre-digital era. Ward

"I’m ready to surrender into the idea that we’re all connected, and that I need to be of service somehow." "The way we see things changes them, and the things we see change us." -- Gino Miele In this episode, Antonio and Ward welcome Gino Miele for an in-depth conversation about the delicate balance between being fully present in a moment and capturing it through photography. Gino shares his experience photographing a lowrider family in New Mexico, where he found himself both immersed in the vibrant scene and mentally juggling the technical aspects of getting the shot. This sparks a broader discussion about the challenge many photographers face: how to fully engage with the scene in front of them while also framing it through the lens. The trio reminisces about their own struggles with this balance, touching on the idea of "photo gods" and how sometimes the most serendipitous moments happen when you least expect them. The guys continue to explore how photographers can sometimes lose sight of the bigger pictu

In this episode, Ward kicks things off by sharing his experiences at the Calgary Stampede, a massive fair and rodeo. He talks about using his new camera gear, including his trusty Fujifilm X-E3 with a 23mm lens for wide shots and the new Fuji X-S20 with a 50mm lens for more detailed portraits. Ward explains how he uses the 23mm lens for capturing groups of people in candid moments and the 50mm lens for more composed shots from a distance. He emphasizes the importance of getting into the right mindset to capture compelling images, especially in such a lively setting. Ward also reflects on the importance of enjoying the process of photography, from shooting to editing. Antonio then brings up an interesting discussion about the ability to simultaneously experience an event and document it through photography. He draws on his experiences filming concerts and live shows to illustrate how seasoned photographers can balance both aspects. They discuss the concept of "seeing" in photography and how it can transform o