Barry Ashenhurst is a retired photojournalist based in Newcastle, Australia, who worked for some of the country’s premier sporting and lifestyle magazines. After decades of professional work—from motocross tracks to caravan publications—Barry transitioned to street photography, trading his heavy camera bags for a single Sony A7 and 35mm lens. His article “Feeding the Fire” will be published November 5th in Street Photography Magazine.

Barry’s journey into photography began in his family bathroom darkroom, eventually moving to his parents’ dog kennel when his mother tired of the smell of chemicals. His approach to breaking into magazine work was unconventional but effective: “I’ve never approached a magazine and said, this is who I am, this is what I can do,” he explains. “I’ve always just sent them a complete product, like a complete story, with the pictures, with captions set out in the editorial style that that magazine uses.”

Today, Barry is concerned about what he sees as a lack of originality in contemporary street photography. He’s particularly critical of the trend-driven nature of the genre: “There’s a conformity, a strangling conformity in a lot of this stuff. I think they get onto someone and they see what he’s doing. So now everyone’s photographing silhouettes.” Rather than following YouTube tutorials or copying popular photographers, Barry advocates studying the masters—combat photographers like Don McCullin and documentary photographers like Sebastião Salgado.

Drawing on wildlife photographer David Yarrow’s criteria, Barry believes great photographs share three qualities: “Number one, you probably can’t take it again. Number two, it’s interesting enough to look at for a long time. And number three, it touches the heart.” He challenges street photographers to apply these standards to their work instead of chasing trends.

Barry’s philosophy is simple: “If your photographs are boring, you’re photographing boring stuff, mate. Go and find interesting things to photograph.”

Barry does not currently have a website or other online presence. However he is very well read and during our conversation shared several excellent book and photographer recommendations. I was impressed with his admiration of the writings by the late Joe Baegent from West Virginia. It was a pleasant surprise that someone from the other side of the planet was inspired by stories about the unique culture of my native Appalachia.

• Don McCullin

I’d like to tell you about someone who’s become both a friend and a photographer I admire. His name is Pat Callahan, and he’s our featured photographer in the October 2025 issue of Street Photography Magazine.

Here’s the funny thing about how we met: I’d known Pat for over two years at our gym here in Charlottesville, Virginia. We’d play pickleball together, exchange pleasantries, the usual gym-friend routine. Then one day while waiting for a game to start, we had a casual conversation and he asked what I did for a living. When I told him about Street Photography Magazine, he said, “I do street photography.” I was floored. Later, I saw some of his work on Instagram and realized this guy is the real deal—a genuine talent hiding in plain sight on the pickleball court.

What strikes me most about Pat’s work is the joy in it. When I look at his photographs, two words come to mind: Life Magazine. There’s something about his images that captures everyday people in everyday scenes, yet reveals something extraordinary. His approach reminds me of the photojournalism that made me fall in love with photography as a kid. Pat himself is a joyful, friendly guy, and that spirit shines through in his work.

Pat’s journey into street photography took a serious turn when his wife Julie was assigned to work in Bratislava, Slovakia. As he puts it, “I realized it’s what I really like and it’s what other people like.” That realization led to his first exhibition at a cafe in 2015. This past year, he had another exhibition at the historic Albrecht House in Bratislava—a full-circle moment celebrating French culture through his street photography work from Paris, where he maintains an apartment.

What I appreciate about Pat is his democratic view of equipment. He’ll show you images and challenge you to guess which were shot with a camera and which with his phone. “It doesn’t matter,” he says with a grin. What matters is being ready, keeping your heart and eyes open, and recognizing those fleeting moments that tell a human story. His work has been published internationally, and he continues to travel between Charlottesville, Michigan, Paris, and destinations around the world, always with a camera in hand.

Today we’re going to talk about his approach to street photography, his recent exhibition, and what drives him to capture the working-class neighborhoods and everyday moments that most of us walk past without noticing. So have a listen to my conversation with Pat Callahan—world traveler, street photographer, and one of the most genuinely enthusiastic people you’ll ever meet.

• Pat’s Website

In this episode I speak with Alan Wieder, a street photographer, oral historian, and author whose book We Will Not Be Removed: The People of King School Park documents four years spent photographing at a park in Portland, Oregon. The book captures the daily lives of a predominantly African American community in a gentrified neighborhood.

Alan’s journey into this project began in July 2020 during a political protest when he encountered a group of men at King School Park. After asking permission to photograph them and returning the next day with prints, he became a daily presence at the park for the next four years. What started as casual documentation evolved into deep relationships with the community, particularly with elders like Carl, Tracy, and Rosie, who had lived through the neighborhood’s transformation.

The park serves as a gathering place for people who were displaced by gentrification but continue to return to what they consider their neighborhood. Alan captures not just portraits but candid moments that show the connections within this community. His approach reflects lessons learned from studying with photographers including Bruce Gilden, Peter Turnley, and Constantine Manos.

Beyond the photography, he conducted interviews with community members about their experiences with displacement and their connection to the neighborhood. The book combines images with quotes from residents, creating a narrative about resilience and belonging. Mitchell Jackson, a Pulitzer Prize-winning author who grew up in the neighborhood, wrote the foreword.

Alan’s background as an oral historian and his previous work documenting race and class issues, including research on anti-apartheid activists in South Africa, helped shape his approach to this long-term project. Now based in Asheville, North Carolina, he continues street photography while planning visits back to Portland to share copies with the people who made the project possible.

• Alan’s Website

Today I’m joined Garrett Strang, an American photographer who has made Paris his creative home. Garrett’s journey from documentary filmmaker in Washington D.C. to street photographer in Paris is one of creative evolution and bold reinvention. For 20 years, he created documentaries on health issues, population studies, and social conflicts, where he developed an eye for human emotion and storytelling that would later drive his photographic work.

His transition to photography began with a series called “America on the Edge” during the 2016 election cycle, where he captured the tension and uncertainty in people’s faces using unconventional framing techniques. This work sparked his passion for street photography and ultimately led him to abandon commercial photography entirely when he moved to Paris.

Now living in Versailles with his partner, Garrett spends his days walking the streets of Paris, capturing candid moments on the metro and throughout the city. His work has been featured in Street Photography Magazine, and he recently published his first photo book. Paris a coeur ouvert Paris in the Raw. Today we discuss his techniques for shooting in challenging environments, his approach to connecting with subjects, and the creative risks that drive his photography.

• Garrett’s Website

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