Street Photography Magazine

A New Chapter for Street Photography MagazineIn 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

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2025 Favorite ImagesWatch 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

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