Today we’re joined by Raymond Thompson Jr., an assistant professor in the College of Communications at the University of Texas and a photographer whose work defies easy categorization.

Originally from Virginia, Raymond has spent years documenting stories that others have forgotten or even worse, deliberately erased. His approach blends documentary photography, fine art, and archival research to uncover hidden histories. From his powerful “Justice Undone” project photographing juvenile detention facilities to “Appalachian Ghost,” which reveals the tragic silicosis disaster at Hawks Nest in 1930s West Virginia, Raymond’s work serves as both witness and memory keeper.

What makes Raymond’s practice unique is his willingness to adapt his visual style to serve each story’s needs. He moves between street photography and portraiture, traditional documentary and experimental processes, even letting his prints mold in water when the narrative calls for it. His latest book, “It’s hard to stop rebels that time travel,” explores his personal connection to North Carolina landscapes while examining the layers of American history embedded in three coastal counties.

Join us as we discuss access, intuition, the responsibility of storytelling, and how Raymond balances his academic career with creating deeply personal photographic work that challenges us to remember what we’d rather forget.

• Raymond’s Website

This week we’re joined by our friend Virginia Hines. She’s a photographer and former publishing industry professional who has traveled extensively to document street life around the world and learn from masters of the genre. She wrote the foreword to Street Photography Magazine’s book “Where the Streets Lead” and has been featured multiple times in our podcast and magazine, sharing her insights into street photography. And she is a frequent contributor to Street Photography Magazine.

Fresh off circling the globe in just a few weeks, Virginia joins Ashley and me to share stories from her whirlwind journey that took her from San Francisco to multiple cities across China, then to Photo London, and back home again.

I really enjoyed Virginia’s observation of how China has changed since her last visit before COVID. “Nobody uses cash anymore,” she told us, explaining how even the smallest purchases now require a phone payment system. But beyond the technological shifts, she noticed something deeper: “People seem to be a little more laid back, having a little more fun, maybe saying, you know, let’s just enjoy friends and family and the good things in life.”

Virginia describes the performative nature of modern Chinese society, with TikTok videos being filmed everywhere and elaborate costume play in public parks. She also shares fascinating insights about Beijing’s hutongs, traditional housing areas, where she spent time photographing, meeting residents living in conditions that tell stories of China’s urban evolution.

Street photography isn’t just about locations. It’s about the stories and encounters along the way. Virginia told us how her limited Chinese language skills sometimes led to spontaneous photo opportunities. People, startled by a foreign photographer, often agreed to be photographed before they could decline.

One humorous incident involved a woman in a pink coat and inflatable wings. Virginia photographed her, and days later, in a different part of town, the woman approached her, asking for the picture. The story took an even stranger turn when Virginia showed the photo to a Chinese friend back in San Francisco who showed it to her mother who recognized the woman. This created a small-world connection in a country of over a billion people.

Virginia’s stories remind us why travel photography isn’t just about capturing pretty pictures—it’s about documenting cultural shifts, human connections, and the unexpected moments that make each trip an unforgettable experience.

• Virginia’s Website

What happens when two artists choose to show up for each other—week after week, year after year—for over three decades? In this episode, Ashley Riffo talked to photographer Gigi Stoll about her extraordinary friendship with the late Flo Fox: a street photographer, advocate, and firecracker of a human being who never let MS (and the blindness and paralysis that came with it) stop her from creating.

Their bond was intentional and powerful, to say the least. And not just for their art, but for their lives. Flo’s influence didn’t end with her passing either. In fact, she’s the driving force behind Gigi’s nonprofit, Two by Two Media, which supports female artists over 70 in building their legacy.

This episode is a tribute to Flo, a celebration of friendship, and a reminder that creativity has no expiration date.

• Gigi’s Photography Website

#Mark Seymour Introduction

I’m pleased to have Mark Seymour back on the podcast. It’s been too long since we last connected, because Mark’s been busier than ever. He’s based in the UK, and when we spoke, he mentioned watching foxes playing in his garden. But don’t let that peaceful scene fool you—Mark’s constantly traveling, teaching workshops around the world.

In addition to his own workshops Mark also works with Light and Land. The clientele is different for each. Light and Land attracts older folks with disposable income who see photography as a hobby. Mark’s independent workshops draw professionals wanting to improve their street and travel photography for business.

Despite his busy teaching schedule, Mark stays committed to personal projects. He learned this lesson from conversations with photographers like Larry Towell and Ed Kashi, who told him his images were good but asked about the story. They pushed him to focus on developing narratives through his work.

Mark just returned from teaching in Venice. He always arrives three days early to scout locations, even though he’s been there many times. His groups arrive via private speedboat, a very James Bond experience. But the real but the street images come when you walk away from the tourist spots like Rialto Bridge and St. Mark’s Square. A few hundred yards away, you will find locals hanging around squares in the evening, kids playing, real street photography opportunities.

His workshops start with classroom discussions about masters like Cartier-Bresson and Robert Frank. Then he gives students simple projects—color matching, reflections, light and shadow work. His best advice is to “get lost.” He tells participants to wander wherever they want and meet back in two hours. That’s when the best shots happen.

By day five, students are seeing things differently. They notice heads growing out of other heads in the background and understand they should have moved right to avoid it. They’re looking for faces instead of shooting backs of heads. He says the transformation is remarkable.

Mark’s also working on the “One in Six” project for Seven Agency, documenting people over 60 who still work. For example he met Roy, a kite maker, at a wedding. Roy turned out to be this colorful character who made flags for the Super Bowl, and installation for Coldplay and and a kite replica of Big Ben for the Lord Mayor of London. Mark spent three days documenting Roy’s life and craft, combining photography with recorded interviews.

Mark also worked on a project for National Geographic in Kolkata. The assignment came through his role as a Nikon ambassador. The budget was low, it didn’t even cover the flight, but he piggybacked it onto another trip. The National Geographic pass was like a golden key, opening doors everywhere.

Mark’s strength is layered street images. He thrives in warm climates where people are out on the streets. He’s constantly pushing himself to create images that match his best work, like his recent award-winning photo from the Ganges River.

It’s always great talking with Mark. I learn something new each time we talk. His insights into both teaching and creating meaningful photography projects have made make every conversation valuable and fun.

• Mark’s Website

Today we’re joined by John M Simpson, a photographer whose unique background brings a perspective to documentary work that deserves our attention.

John’s journey spans multiple careers that have shaped his approach to visual storytelling. As a former military officer he later transistion to academia as a history professor. This foundation in historical analysis would prove invaluable when he later became a photojournalist. This role led him to embed with US forces in both Iraq and Afghanistan on multiple deployments, experiences that taught him to navigate challenging environments.

Today, John works as a documentary photographer with a focus on his local homeless population in Washington State. His approach goes far beyond making photographs—he builds relationships with his subjects, spending time listening to their stories and understanding their circumstances. This isn’t photography for its own sake, but documentation with purpose and respect.

John joins us in this week’s episode in his role as what he calls a “canary in the coal mine”—a documentary photographer who serves as an early warning system for society. As a historian he researched policy documents of the incoming president such as Project 2025 and Agenda 47 and recent executive orders, combined with his ongoing work in homeless communities, John has identified concerning patterns that echo historical precedents in American policy. His concerns center around the potential relocation of homeless populations to tent cities or camps on federal land, a possibility he traces through reading Project 2025, Agenda 47 and recent Executive Orders by the current administration.

John draws historical parallels, highlighting the internment of Japanese Americans during World War II which was authorized by Executive Order 9066 issued by Franklin Rosevelt. Approximately 120,000 people were interned through the executive order. This historical event serves as a reminder of how quickly rights can be curtailed.

Dorothea Lange, Ansel Adams, and Toyo Miyatake documented these internment camps. Lange’s work, often critical, was largely impounded until 2006. Adams, through his book “Born Free and Equal,” cautioned against the dangers of mass hysteria and the denial of civil liberties. Miyatake, himself interned, secretly photographed life inside the camps.

These historical examples underscore the need for constant vigilance. They remind us that the past can repeat itself if we fail to learn from it. John emphasizes that this isn’t about politics; it’s about American society and the protection of vulnerable populations.

For our audience of street and documentary photographers, John’s message is clear: you are historians. You capture not just moments, but evidence of the times we live in. As John reminds us, documentary photographers have always played a crucial role in alerting society to “something that is noxious or poisonous” happening around us.

John approaches his work with two unwavering principles: his photographs must be clear and they must be honest. He makes careful distinctions between truth and honesty, understanding that while perspective can shape what we see, integrity in representation cannot be compromised.

John challenges us to consider how documentary photographers can fulfill their role as chroniclers of contemporary history, regardless of our political perspectives. John’s work serves as a reminder that with cameras in our hands, we have both the opportunity and responsibility to document the world around us with clarity, honesty, and humanity.

Alon Goldsmith is a Los Angeles-based street photographer and copywriter whose mobile photography has earned him recognition in numerous international contests. A longtime member of Julia Dean’s photography collective, he has become known for his creative approach to iPhone photography and his documentation of Venice Beach’s vibrant street life. His work appears in the new book “[Where the Streets Lead]” and he is the featured photographer in the July 2025 issue of Street Photography Magazine.

While many photographers dismiss mobile phone cameras as inferior tools, Alon Goldsmith has built his entire street photography practice around his iPhone, proving that great images come from vision rather than expensive equipment. His journey began fifteen years ago when a perfect storm of circumstances—a new job within cycling distance, his first iPhone, and a daily commute through Venice Beach—sparked a passion that would define his artistic voice.

“I really got into photography and street photography through my iPhone and a bicycle,” he explains. This shaped his approach to capturing the street life in Southern California, an area often overlooked in favor of more traditional street photography destinations like New York.

Alon’s technique is simple and clever. He mounts his iPhone on his bicycle’s handlebars and uses a Bluetooth remote shutter that he operates while riding. “I use my bike as a tripod,” he says. “I’m completely invisible because I can actually aim my bike at anything that I want, and no one has a clue that I’m taking photos because I’ve got this remote shutter.”

This stealth approach has allowed him to document Venice Beach’s eclectic street life. His famous photograph “Surveillance,” shot during the pandemic using the Hipstamatic app, captures a homeless man on a skateboard with his dog. It’s an image that later took on deeper meaning when Alon learned the dog had been taken from its owner by police.

Alon has developed a fascination with one location on the Venice boardwalk, which he calls “811.” “That’s been one of my sort of… it’s my Venice muse” “I just keep going back there and I always think I’ve done the ultimate shot there, and I still keep trying to get an even better one.”

Currently, about 90% of Goldsmith’s personal work is shot with his iPhone, though he switches to traditional cameras for commercial assignments. Although, some clients specifically request his iPhone aesthetic, recognizing the unique quality of his mobile photography.

Beyond individual images, Goldsmith has pioneered a project called “Going Places,” where he stitches together multiple photos from the same location to create panoramic narratives of people moving through Venice Beach. These composite images showcase his vision and demonstrate how digital tools can extend the possibilities of street photography.

For Alon, the iPhone’s greatest strength lies not just in its convenience, “you always have your phone with you,” but in its ability to make both photographer and subject more comfortable. People seem to be less guarded around a phone than a big camera.

So, have a listen to Alon tell his story on today’s episode and be sure to read Ashley’s feature article about him in the July 2025 issue of Street Photography Magazine.

• Alon’s Webite

Brad Jones, the featured photographer in the June 2025 issue of Street Photography Magazine, is a Brooklyn-based forensic photographer. Originally trained as a painter and illustrator, Brad discovered photography in college and spent 15 years building a successful commercial career shooting for magazines and advertising clients. However, his transition to forensic photography a decade ago, documenting scenes for insurance companies and legal proceedings, is the tipping point that led  to his passion for street photography.

Photographing destruction and tragedy in his professional work, Brad turned to street photography as what he calls an “antidote” – a way to seek beauty and joy in everyday moments. His project “A Fragile Utopia” captures candid moments in New York and surrounding areas.  His photographic approach on the street is shaped by his studio photography background.

Brad uses a methodical and intuitive approach to street photography, treating natural light like lighting he used in his studio work.  He uses consistent camera settings, often passing on shots that will not work with those settings. His work is recognizable by rich colors and moments of joy and connection. 

His advice to other street photographers centers on simplification and intuition: keep technical aspects consistent, don’t overthink compositions, and trust your initial gut reactions. As he puts it, “photograph hot and edit cold” – capture with passion and emotion, then evaluate with objectivity later.

Have a listen to my conversation with Brad, then be sure to read  Ashley Riffo’s feature article about Brad in the June issue Street Photography Magazine.

• Website

What makes a street photograph truly stand out? Is it the decisive moment, the composition, or the story it tells? In today’s episode, our guest David Herman and I explore these questions and more. David brings a unique perspective shaped by his background as a former professional photographer and his instinctive understanding of human interaction.

David shares insights on how he finds connections in everyday scenes. As a top-level competitive tennis player, he reflexively anticipates moments before they happen to create powerful, storytelling images.

David is drawn to street photography by the uniqueness of each shot. “Every picture I take, nobody else is ever going to take that picture,” he says. Unlike landscapes, where countless photographers capture similar scenes, street photography offers the thrill of capturing a truly original moment.

He embraces the unpredictable nature of wandering the streets, free from the linear, rational structure of his professional life as an investment banker. This freedom allows him to see and capture the unexpected interactions that make street photography so compelling.

David describes his signature style as capturing “linkage” between subjects and their surroundings. He seeks to connect seemingly unrelated elements within a single frame. This could be the interaction between two people, or the relationship between a subject and a billboard or background element.

He’s not interested in simple portraits. Instead, he prefers the complex interplay of elements that create a story within the image. It’s about those fleeting moments of connection that most of us overlook.

Despite David’s claim of not knowing what he’s going to shoot, his work reveals a disciplined approach. He explains that his experience as a tennis player has honed his ability to anticipate. In tennis, you have to anticipate your opponent’s moves. You have to predict where the ball will go and prepare your response in a split second. This translates directly to street photography.

He sets his camera to a simple point-and-shoot mode (F8 at 1/500th of a second with auto ISO). This way, he doesn’t have to think about the technical aspects. He is ready to capture the action before it unfolds. “Just before the hug, just before the kiss, just before something is, is when I want to shoot,” he explains. He trusts his instincts and hopes the “photo gods” will align the shot.

David acknowledges that luck plays a significant role in street photography. “The photo gods need to help you,” he says. Often, just as he’s about to capture a perfect moment, someone walks into the frame, or something unexpected ruins the shot.

Despite careful anticipation and preparation, the success rate in street photography remains low. Capturing something meaningful requires the world to cooperate. It requires a combination of skill, anticipation, and a healthy dose of luck.

David cites several photographers who have inspired his work, with Sam Abell as his primary influence. He admires Abell’s photography, teaching style, and overall philosophy. He even maintains a friendship with Abell. He values his insights on both photography and life.

David discusses two distinct qualities in photographs: “striking power” and “staying power.” A striking photograph immediately grabs your attention. But a photograph with staying power has a deeper story. It has some suggestiveness or mystery that keeps you thinking about it long after you’ve seen it.

He strives to combine both qualities in his work. He wants to create images that are not only visually compelling but also leave a lasting impression on the viewer.

There is a lot more to unpack from my conversation with David about his approach to street photography that we can all learn from. So, take some quiet time to enjoy my conversation with David Herman

• David’s Website

Many of you probably already know Larry Racioppo from his thoughtful column in our monthly newsletter, where he shares his unique perspective on photography. As a lifelong photographer, Larry has published several books, both independently and through established publishers.

We’re excited to feature Larry as our featured photographer in the May 2025 issue of Street Photography Magazine. Our editor Ashley Riffo and I recently had the pleasure of sitting down with Larry to discuss his personal work and how it culminated in the publication of his magnum opus.

Larry has a remarkable talent for capturing moments that others might overlook—from intimate family gatherings to vibrant street scenes across New York City. What makes his work truly special is his ability to reveal meaning in unexpected places, which shines through in his latest book, “Here Down on Dark Earth,” a title inspired by a line from Jack Kerouac’s poetry.

This collection, published by Fordham University Press, explores profound themes of memory, mortality, and memorialization through photographs spanning decades of Larry’s career. Rather than limiting himself to a single style or subject, Larry embraces variety in his approach, using everything from 8×10 view cameras to cell phones. His powerful images include memorial walls in New York neighborhoods, family funerals, and religious iconography.

What’s particularly inspiring about Larry is his long-term dedication to his craft. Many projects in his book developed over years or even decades, allowing him to document meaningful changes over time—like memorial murals slowly fading on city walls or the evolution of family gatherings at gravesites.

During our conversation, Larry generously shares his experiences photographing the streets of New York, his process for compiling this comprehensive book, and the personal connections he’s made throughout his journey. His insights into the creative process reveal how photography can serve as a powerful means of preserving what truly matters in life.

We invite you to enjoy our conversation with Larry Racioppo, a photographer whose work reminds us all to pay attention to the beauty and humanity that surrounds us in our everyday lives.

• Larry’s Website

Ever wonder how some photographers capture those striking, perfectly composed street scenes? It’s not always about luck. Sometimes, it’s about seeing the world through the eyes of a graphic designer.

In this episode of the Street Photography Magazine podcast, I chat with Gavin Libotte, an Australian street photographer and musician with a background in graphic design and fine art. Gavin shares his journey back into photography, his unique perspective on composition, and how he finds inspiration in everyday life.

Gavin’s path to street photography wasn’t a straight line. He initially studied graphic design and fine art, learning darkroom techniques and film photography. This early training instilled in him a keen eye for composition and design elements. It was all about shapes, forms, and relationships within the frame.

Life took him away from photography for a while after his gear was stolen. But, the spark was reignited years later through an unexpected connection. Teaching guitar to the son of renowned street photographer Markus Andersen opened a doorway back to his passion. Seeing Andersen’s work reignited Gavin’s love for capturing the world around him.

This renewed passion led Gavin to pick up a camera again, starting with his phone and then a Ricoh GR2. He made it a daily practice to shoot, immersing himself in books and reconnecting with the visual aspects of his life. For Gavin, this was about balancing his long-standing musical pursuits with a visual outlet.

When he’s out shooting, Gavin instinctively measures the relationships between objects, ensuring a balanced composition. If an image doesn’t feel right, he simply won’t post it. It’s this dedication to composition that sets his work apart.

To refine his sequencing skills, Gavin sought advice from photographer Melissa O’Shaughnessy, who generously shared her process. She recommended studying the sequencing in Walker Evans’ “American Photographs” and Robert Frank’s “The Americans.” These books are renowned for their masterful visual storytelling.

Evans’ and Frank’s work serve as excellent references for anyone looking to improve their sequencing. These books demonstrate how the order and arrangement of images can create a powerful and cohesive narrative, enhancing the viewer’s experience.

Gavin is drawn to working with hard light, a technique he adapted after moving to Australia. Inspired by photographers like Ray K. Metzger, he uses harsh light and contrast to create striking images. Metzger’s use of black as a design element heavily influences Gavin’s style.

Gavin’s journey highlights the importance of passion, resilience, and continuous learning in street photography. His graphic design background gives him a unique perspective on composition, while his experiences have taught him the value of perseverance. As Gavin says, “the doing of it, the practice, is more important than the result, in a way, because that is us living our lives, isn’t it?”

• Gavin’s Website