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Street Photography Magazine Podcast

The Official Journal of Street and Documentary Photography

Street Photography Magazine

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

Collecting Moments with Michael Eugster

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

Improvisation in Street Photography with Xiomaro

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 ashley@streetphotographymagazine.com. 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

A New Chapter for Street Photography Magazine

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

Spontaneity and Story with Street Photographer James Hazelwood

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

Matt Jerrams on Building Recognition Through Consistent Work

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

2025 Favorite Images

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

When Photography Inspires Fiction with Sharon LaCour

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

France Leclerc – The Art of Becoming Invisible

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

Jason Rice and the Art of Patient Observation

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

Context, Connection and Candid with Hillary Greene-Pae

I’m back from my trip to New Zealand and getting back into the swing of things. Sorry for being offline for so long. When we left the US things were relatively normal, and in New Zealand it seemed to be business as usual. Although we watched the stock market melt down on television, out on the streets of New Zealand life was normal. And on our ship (that’s right we were on a cruise) we were fat, happy and almost oblivious to the rest of the world.

Then all hell broke loose. Our cruise was suddenly cancelled and for a few days we didn’t know how we were going to get home. When we did finally get back (I’ll spare you the details) we landed in a world different from the one we left. Im still trying to get my head around it.

I’m sure you’ve had enough Coronavirus talk to fill the rest of the year, so let’s put that aside and talk street photography.

Today our guest is Shlomi Amiga. He’s a commercial photographer from Toronto Canada and very active street photographer who has just formed a new collective for Canadian street photographers. Shlomi was also the featured photographer of the month in our September 2019 issue, so be sure to check out him and his work after you finish listening to this.

If you’ve ever thought of forming a collective with like-minded photographers this is a good time to do it. If you’re like everyone else you’re stuck at home for the foreseeable future. Shlomi put his group together pretty quickly by starting an Instagram account. So have a listen to my conversation with Shlomi Amiga where he tells us how he made it happen.

Shlomi has very graciously offered to perform a few portfolio evaluations for free. If you’re interested you can contact him directly by email at shlomi@shlomiamiga.com or DM him on Instagram at @callmeshlomi.

Links from the show

Shlomi’s website
SPYSPC Instagram
Shlomi’s Instagram

Organizing a Street Photography Collective with Shlomi Amiga

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