Street Shots Photography Podcast

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

"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