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

In this episode I’m excited to introduce you to a photographer with a fascinating perspective on the art of seeing.

Steven Kushner is a retired Reform rabbi from Detroit who now calls New Jersey home. After serving his congregation for nearly four decades, Steven embarked on a creative journey that had always called to him but never had the space to fully explore – photography.

When I discovered Steven had become a subscriber to our magazine and filled out our profile form, I was immediately intrigued. Taking a moment to visit his website and review his work, I knew his unique approach to street photography would resonate with our listeners.

Steven describes his photographic style as “observational photography,” a term borrowed from an essay about the late photographer Fred Herzog. For Steven, photography isn’t just about capturing moments – it’s about creating meaningful images that reveal something beyond what initially meets the eye.

His background as a rabbi has deeply informed his photographic practice. Steven speaks eloquently about how his spiritual training taught him the importance of truly seeing – of paying attention to the world around him. He draws parallels between Moses noticing the burning bush in Exodus and the photographer’s task of slowing down and truly observing.

During our conversation, Steven shares insights about his gear preferences, his approach to composition and light, and how he engages with his subjects on the street. We’ll explore how his lifelong dedication to connecting with people has shaped his ability to create images that tell compelling stories.

Whether discussing his fondness for his Leica Q3, the photographers who inspire him, or the spiritual dimensions of his creative practice, Steven offers thoughtful reflections on what makes photography meaningful.

Join us for a conversation that explores the intersection of spirituality and street photography, the joy of discovering beauty in ordinary moments, and the transformative power of truly learning to see.

I’m pleased to share my recent chat with Daniel Sakheim. Dan is a television director and producer known for his work on shows like “True Detective,” “The Americans,” and “Better Call Saul” and he is also a very talented street photographer. I’ve been trying to get Dan on the podcast for a while, and I’m glad it finally worked out. We had a great conversation about his journey into photography, how his directing work influences his photographic vision, and his project, “City Unseen.”

Dan talked about how LA isn’t really recognized as a street photography hot spot like New York or London. But there’s a vibrant community there, especially within Julia Dean’s collective, which Dan co-directs. It’s inspiring to see artists driven by passion, documenting their city without much financial incentive. He mentioned LA is like a collection of cities, each with its own distinct vibe, offering endless opportunities for unique street shots.

Dan also shared how he got into photography after the 2008 writer’s strike gave him time to explore a creative outlet. He audited classes at Art Center and struggled for six years before taking a photo he didn’t hate. I found that so relatable because sometimes the most rewarding things take time. He eventually found inspiration in downtown LA, drawn to the old movie palaces and their history, which led to his “City Unseen” project inspired by film noir.

Dan shared was how “City Unseen” started with a photo, titled *Salaryman, *that he took in Tokyo. Walking around Shinjuku late at night, he captured a salaryman at a noodle shop, and it reminded him of classic noir films. He started watching every noir film and really getting into that style. The project has been exhibited in galleries in London, New York, and LA, and he’s working on turning it into a book.

He talked about how he often scouts locations and does light studies like he would for a TV shoot. Then, he finds an interesting background and waits for something to unfold. For example, the tram shot at the Getty Center took five attempts to get right. We also got into the impact streaming has had on TV, with Dan giving his perspective on how it gives more freedom but also creates a lot of pressure.

In a world that’s forgetting how to truly see, our new book “Where The Streets Lead” invites you to rediscover the overlooked beauty of ordinary streets. Curated by Ashley Riffo and Bob Patterson, featuring work from renowned photographers from around the globe.

Check out the full podcast to hear all of Dan’s insights and stories. If you haven’t seen his work, head over to his website danielsackheim.com or his Instagram @daniel.sackheim

• Dan’s Website

In this episode, Ashley Riffo and I welcome back Pia Parolin. We talk about how making your work more personal actually makes it connect with more people on a deeper level. It’s a concept, while is as old as Aristotle, been brewing in my mind for a long time, and we’re excited to explore it with you.

Pia shared insights from Susan Sontag and her own experiences, like her series on the Promenade des in Nice after a terrorist used a truck to kill 86 and injure over 400  people celebrating Bastille Day.   Her photos, seemingly light and colorful, carried a heavy message of resilience and reclaiming happiness. It really underscored how personal experiences, when channeled through art, can speak volumes.

We touched on balancing personal expression with leaving space for others to project their own emotions onto your work. Think about those moments when you’re truly present, capturing genuine interactions. That’s where the magic happens, and those images? They speak volumes without a single word.

One of the things that struck me most was Pia’s vulnerability in sharing her series about her daughter’s adolescence. It was a tough time for both of them, but turning it into art became a love declaration. It’s a reminder that sometimes, the most challenging moments can yield the most meaningful work.

I also brought up Sam Abell’s powerful photo of his father with Alzheimer’s. It’s intensely personal, yet universally relatable because it talks about family and memory. Since Pia’s article last year, Ashley and I have been seeing this everywhere, and we didn’t even realize it. It’s kind of cool when that happens, isn’t it?

Listen to the full episode. Pia shares practical tips to infuse your work with personal meaning and tap into universal themes. Look for those interactions that everyone understands. A smile, a loving touch, a child gazing at their mom—these are universal moments that resonate deeply.

• Pia’s Website

I’m thrilled to share something Ashley Riffo and I have been pouring our hearts into for over a year: our first book, Where the Streets Lead! It’s been a wild ride, full of unexpected turns and steep learning curves. After publishing a digital magazine for 12-years we wanted to create something tangible, a legacy of sorts, to celebrate street photography and the incredible community around it. And we wanted to use this special episode of the podcast to tell the story of our book creation story to help others learn from our experience and avoid the mistakes we made. Of course we would also love for you to be among the first to grab a first edition.

One of the biggest things we learned is how much we didn’t know when we started! From the surprising amount of work in selecting images, to wrangling large files, to navigating the world of printing, it has been something. For example, we originally asked photographers to submit full-resolution images, which flooded our drives with more data than we needed well before the selection process. That’s not an issue for someone creating a monograph, but smaller images are a must for an initial open call for submissions.

If you’re thinking about doing a book, start with a solid theme that resonates with you and your community. For us, it was “Where do you like to shoot?” This theme allowed people from all walks of life to share their unique perspectives. Plus, physical prints slow you down and let you see the images in a whole new light, which you can’t get online.

Ashley and I are about 800 miles apart, so this whole project was powered by Zoom, shared galleries, and a lot of trust. We took online courses from Magnum photographers Alec Soth and Mark Power, which completely changed how we thought about sequencing. We literally taped hundreds of photos to our walls and moved them around until the story flowed. Then we shared our thinking via photos, videos and online galleries.

Finding a printer was another adventure. We wanted high quality without breaking the bank, which led us to a digital press that delivered amazing results. We even debated whether to include the photographers’ stories, but after a test print, we realized the text was essential. It added depth and context, making the book more than just a collection of pretty pictures.

The podcast episode was recorded while we were awaiting delivery of the first batch of the books. You will hear us discussing (and even stressing a little) over how the quality of the final version. Well, they arrived right on schedule and I was super impressed with the physical quality of the book and, of course, the content.

“Where the Streets Lead” is now available on our website. This book is a celebration of our community and the unique places that inspire us. By purchasing the book, you’re supporting our work and helping us continue to bring you the best in street photography.

So sit back and have a listen to our story, then head over to our new online bookstore and grab your copy today. International shipping is available (though a bit pricey, sorry!), and we’ve got boxes ready to make sure your book arrives in perfect condition.

• Where The Streets Lead Order Page

I had the pleasure of sitting down with Antonio Pisani. He’s a photographer originally from Italy but now based in the UK, and he has some very interesting insights on street photography. What makes Antonio’s story unique is his journey and perspective. I think you will appreciate his insights.

Antonio shared how his father’s profession influenced him. His father used film cameras in the eighties and nineties. Antonio explained the magic of photography and his independent approach. He always had a clear idea of what he wanted. His father’s work had a subconscious influence. He saw his father developing photos and understood how to explore beyond the technicalities.

We dug into the concept of seeing beyond the surface. This is something that Antonio learned from his mentor, Yoshi Imamura. Antonio met Yoshi while working in a retail camera store. They connected over cameras. Yoshi gave him a pinhole lens as a gift which forced Antonio to focus on the art and meaning behind his images, not just the technical aspects. This helped him develop critical thinking and see images with his brain.

It was really interesting to hear Antonio’s thoughts on social media. He believes Instagram can be a double-edged sword. Antonio chooses to control his images and share them purposefully rather than posting everything online for likes. He aims to create meaningful projects that last. He develops bodies of work that can be exhibited or published.

Antonio is preparing several exhibitions in Europe for 2025 and 2026. He’s also working on a book. This takes time and effort, but he optimizes his time and manages his corporate job alongside photography. Antonio believes photography is a calling and a demanding journey. The goal is to develop work that goes beyond day-to-day pictures. If photography is your passion, you’ll keep going.

Antonio is planning 2025 workshops and master classes. He likes to teach the art of slowing down and being present. These classes cover theoretical and practical aspects. The goal is to develop themes and projects, print your work, and share your images. And he’s always open to discussing gear, black and white photography, and his choice of Pentax and Ricoh cameras.

Be sure to check out the full episode to hear more from Antonio. Keep shooting, keep exploring, and stay tuned for more inspiring conversations.

• Antonio’s Website

Michele Zousmer, the featured photographer in the March 2025 issue of Street Photography Magazine is a San Diego-based humanitarian photographer, has dedicated her photographic work to illuminating overlooked communities and challenging societal perceptions. Starting as a sports photographer capturing her son’s basketball games, Michele’s path led her to document stories ranging from women in prison to homeless choir members, ultimately finding her most profound work among Ireland’s Traveller community.

For the past seven years, Michele has immersed herself in the Traveller culture, gaining unprecedented access through an approach that prioritizes human connection over technical perfection. “I literally talk to them. It’s almost like a game,” she explains. “What mascara are you wearing? I’m not kidding. We just like talking makeup on the side of the road.”

This seemingly casual approach belies a deeper purpose. Through her recently published book “Mis[s]understood,” she reveals the complex realities of a marginalized community facing widespread discrimination. Her photographs capture both the vibrancy of Traveller culture and the challenges they face, particularly in education and housing.

“The more I got to know them, I came back many times,” Michele reflects. “I actually thought that they have a lot of traditions that we’ve lost in America. They are so family oriented. Everything is family. They live together as family. All the generations live together.”

Her work with the Voices of Our City Choir in San Diego demonstrates similar depth of connection. What began as documenting a homeless choir led to an intimate film project when choir member Steven Reed asked her to document his final months battling liver cancer. Despite initial hesitation due to her own experience with loss, Michele agreed, creating “Sounds of the Sidewalk: A Journey of Goodbye.” The resulting film not only honored Reed’s story but helped change perceptions of homelessness.

“I really feel that way, and I see the world that way,” she says of her approach to humanitarian photography. “I think vulnerability is so important, and I’m always very open and vulnerable. I could be vulnerable with my people that I’m relating to, but I do think you have to be careful who you share it with.”

This philosophy has earned her the trust of communities often wary of outsiders, resulting in intimate portraits that challenge viewers to see beyond stereotypes and recognize our shared humanity.

This is only part of Michele’s story, so please be sure to listen to our conversation. You won’t regret it.

• Michele’s Website

Eric Turibio, known in the photography community as Ribsy, brings a distinctive approach to street portraiture that emphasizes genuine human connection over technical perfection. Originally starting his photographic journey through food photography, Ribsy has evolved into a committed film photographer who primarily works with medium format cameras to capture compelling portraits of New York City’s inhabitants.

In his conversation with Street Photography Magazine, Ribsy discusses how confidence shapes his street photography practice. Rather than adopting the fly-on-the-wall approach favored by many street photographers, he engages directly with his subjects, often approaching them with straightforward requests like “You look really interesting sitting right there. Can I get a photo of you?” This direct method, combined with his authentic interest in how people fit into their environments, has become his signature style.

Working primarily with a Yashica 124G medium format camera, Ribsy carefully balances his artistic vision with the practical constraints of film photography. Because there are only 12 frames per roll of 120 film, he makes each interaction and composition count. This deliberate approach extends to his creative process – he describes street portraiture as emotionally demanding work that requires specific mental preparation and dedicated time alone to achieve the best results.

Despite relocating from New York City to the Hudson Valley and balancing photography with family life and a full-time career, Ribsy maintains his commitment to documenting the city’s diverse population. Through his YouTube channel and various social media platforms, he shares not only his photographic work but also insights into his process, helping other photographers understand the nuances of street portraiture while maintaining an authentic approach.

• Ribsy’s Instagram