"I can’t seem to get enough of the ‘highway stuff,’ and the fascination of what may be around the next corner makes the whole trip worthwhile."

"Travel becomes a strategy for accumulating photographs."

In this episode, Antonio and Ward talk about how photographs begin to change when they’re placed next to one another. A quick exercise from Antonio’s class, using the still-unpublished zine they made together, leads into a conversation about sequencing, photo books, chapbooks, PDFs, and the simple pleasure of getting pictures off a screen. Not every image needs to be the big standalone “banger.” Sometimes a quieter photograph finds its purpose when it lands beside the right companion and becomes part of a larger story.

From there, they head out of town. Ward takes a long, unhurried drive through small prairie communities, photographing weathered buildings and enjoying the rare freedom of not having to be anywhere at a particular time. Antonio returns to the Cass County Fair, where the smoke, noise, and motion of a tractor pull give him a chance to borrow a little inspiration from Ward’s rodeo and motorsport work. Going back for a second year lets him see what has stayed the same—and how much his own eye has changed. Together, they find that photography doesn’t require an exotic destination or a crowded city street. Sometimes the good stuff comes from revisiting familiar ground, wandering without too many expectations, and paying attention to what a place has been quietly trying to show you.

Miro — the collaborative board Antonio and Ward used to sequence their zine remotely

Apple Freeform — an Apple-based alternative for arranging pictures and collaborating on visual boards

Gavin Libotte Photography — Gavin’s photography and projects, including Wanderland

Walker Evans at The Met — an influence on Ward’s direct photographs of prairie buildings

Michael Kenna — the inspiration behind Antonio’s “diesel Michael Kenna” tractor-pull photographs

Cass County Fair — home of the truck and tractor pull Antonio photographed

Outlaw Truck and Tractor Pulling Association — more about the machines, events, and gloriously excessive noise

Wilber Czech Festival — the festival and parade Antonio visited in Wilber, Nebraska

Nebraska State Fair — Antonio’s next larger fairground photography opportunity

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In this episode, Antonio introduces the work of Latvian photographer Inta Ruka, whose quiet, direct portraits have completely pulled him in. Her photographs may appear simple at first, but the longer Antonio and Ward sit with them, the more stories and visual relationships begin to emerge. What matters most is the connection behind the pictures: Ruka uses the camera as a passport into people’s lives, spending time with them and allowing each photograph to grow out of trust. Her Rolleiflex stays out of the way, leaving her free to maintain eye contact and treat the person as more important than the equipment.

Ward then reviews The Art of Street Photography by Sean Tucker and Joshua K. Jackson, a book concerned less with camera settings than with learning how to think and see as a photographer. Tucker explores creative dry spells, fear, ethics, motivation, and the experience of being fully present with a camera, while Jackson’s rich, layered photographs demonstrate just how open street photography can be. Together, the words and pictures offer something Antonio and Ward keep returning to: permission. Permission to stop being rigid, photograph whatever genuinely catches the eye, and recognize that becoming tired of old habits may simply mean it is time to grow.

The Art of Street Photography by Sean Tucker & Joshua K. Jackson

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"I take photographs in my neighborhood. I think that mysterious things happen in familiar places. We don’t always need to run to the other end of the world."

"There is one thing the photograph must contain, the humanity of the moment."

In this midsummer episode, Antonio talks about returning to Seward, Nebraska, for the Fourth of July and giving himself one simple assignment: photograph people wearing the stars and stripes. By narrowing his attention, he actually becomes more present and comes home with a stronger, more connected group of pictures—a good reminder that creative limits can open things up instead of closing them down. As he prepares to teach his first six-week photography class, he also wrestles with how to give beginners enough technical knowledge without losing the bigger picture.

Ward has just finished nine evenings at the Calgary Stampede, an event he has attended for more than forty years and photographed seriously for the last decade. This time, he finds himself looking beyond the strong, formal compositions he knows how to make and toward quieter pictures that say something about who people are. That shift brings more color, more interaction, and a little more humanity into the work. It also raises questions about responsibility: having the right to take and share a photograph does not always mean keeping it online is the most decent choice. Together, Ward and Antonio come around to the value of returning to the same places year after year. Familiar events can become long-term projects, giving photographers a chance to notice what interests them now, see how they are changing, and gradually find something deeper than the pictures they made the year before.

Antonio's Seward July 4th Pix: https://adobe.ly/4hdxxVA

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"Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual."

"I see no reason for recording the obvious."

In this episode, Antonio and Ward talk about Fujifilm cameras, autofocus, and film simulations. Antonio shares his frustration after missing bird photographs because the autofocus refused to lock onto obvious subjects, while Ward compares his own experiences photographing action with Fujifilm gear. They discuss firmware updates, the expectations photographers have for modern autofocus systems, and how working with film simulations can encourage a slower, more intentional approach to photography.

Antonio and Ward spend the second half of the episode talking about Edward Weston’s Daybooks and the ideas that shaped his photography. They discuss Weston’s famous pepper photographs, his search for what he called “the thing itself,” and his belief that photography should reveal the true character of a subject rather than imitate painting. They talk about the relentless self-criticism found throughout his journals, the years he spent refining both his craft and his artistic philosophy, and the challenge photographers faced in convincing the art world that photography belonged alongside painting and sculpture. Along the way, they reflect on how Weston’s writing still offers practical lessons for photographers today and why his way of seeing continues to inspire nearly a century later.  

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"Sometimes the simplest pictures are the hardest to get."

– Neil Leifer

“I never have taken a picture I’ve intended. They’re always better or worse.”

– Diane Arbus

In this episode, Antonio talks about getting ready for his upcoming six-week class, The Narrative Lens, at Southeast Community College. That leads to a discussion about teaching photography, helping new photographers build confidence, and why so many photographers feel pressure to chase “hero photographs” instead of paying attention to the ordinary subjects that are already around them. Antonio and Ward also discuss the value of constraints, personal projects, and finding meaningful photographs close to home.

The conversation moves to gear, including some new USB-C rechargeable batteries Antonio has been using with his Fujifilm cameras. They also talk about collecting photographic prints after Antonio finally opens a signed Gregory Crewdson print that had been sitting unopened in its box for far too long. That leads to a discussion about living with photographs, hanging prints on the wall, and the different ways photographers connect with the work of artists they admire.

The second half of the show focuses on Ward’s recent trip to the Hand Hills Lake Stampede rodeo. Returning to an event he photographed ten years ago, Ward set out to make something different from the traditional rodeo photographs he had made in the past. Instead of concentrating on the obvious action, he focused on color, movement, gesture, and smaller details within the scene. The result was a series of photographs that received a strong reaction from other photographers and online audiences. Antonio and Ward spend some time discussing one particular image and why it works. The conversation looks at shape, color, rhythm, timing, and composition, along with some of the practical challenges of photographing fast-moving events. Ward shares his approach to photographing the rodeo, while Antonio breaks down some of the visual elements that make the photograph successful.

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In this episode, Antonio and Ward talk about how photography often grows out of ordinary days, familiar routines, and the small things that catch our attention when we are willing to stay open to them. The conversation moves through weather, travel, flea markets, rodeos, old cameras, and personal projects, but the larger theme is about remaining photographically awake even when there is no grand subject in front of you. Whether it is storm clouds over Nebraska, a county fair, a vintage Kodak Brownie, or a quiet experiment with color, the episode is about trusting the small sparks that keep a photographer engaged.

The discussion also turns toward presence and patience, especially through the Japanese idea of Zanshin, or “remaining mind.” Antonio and Ward connect that idea to photography as a kind of follow-through: staying with the moment after pressing the shutter, rather than rushing away from it or judging the image too quickly. Alongside references to William Eggleston, simple cameras, and ongoing personal projects, the episode becomes a reflection on attention itself: how photographers keep seeing, how they work through quiet periods, and how the ordinary can become meaningful when we give it enough time.

William Eggleston Fixed Digital Photography’s Biggest Flaw - The Photographic Eye

Alfie [BOXX] Camera on Kickstarter

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"All the technique in the world doesn’t compensate for the inability to notice."

"Beauty is in the commonplace."

The conversation settles into the idea of “low-energy photography” — not as a failure, but as a way back in. Antonio talks about photographing birds from the deck, making pictures in the backyard, and using a new Fuji film simulation to see familiar spaces differently. That leads into a larger discussion of Walker Evans, ordinary subjects, and the pressure photographers feel to make every image a polished “hero photograph.” Rather than chasing spectacle, Antonio and Ward make a case for the plain, nearby, and easily overlooked: the kind of photography that may not shout right away, but often stays with you longer.

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"To me, photography is an art of observation. It's about finding something interesting in an ordinary place."

"There's nothing more extraordinary than reality."

In this episode, Antonio and Ward talk about photographing ordinary things: streets, buildings, objects, empty places, and quiet scenes that may not seem important at first glance but begin to carry meaning when a photographer pays attention. Using Stephen Shore as a jumping-off point, they explore the difference between an ordinary subject and an ordinary photograph, and why an image does not always need a clear “hero” object to be worth making. Antonio connects the idea to his recent photographs of Ashland, Nebraska, while Ward reflects on his own habit of returning to familiar objects and places. Together, they consider how photography can give us permission to notice what is usually overlooked, and how the quietest pictures can sometimes say the most.

The Photographic Eye - What Stephen Shore Knew About Shooting Boring Places

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"...photography is made essentially of time. I often think that what we show is a point in time, more than a window onto space."

"The camera can’t see space. It sees surfaces. People see space, which is much more interesting."

In this episode, Antonio and Ward begin with a tactile return to photography’s older rhythms as Antonio talks about rediscovering and shooting with a pair of film cameras, including an Olympus Stylus and a Nikon 28Ti. What starts as a story about loading film and checking batteries turns into a broader reflection on the pleasures of using older gear, the quirks of expired Ektachrome, and the appeal of getting back to black-and-white processing by hand. There is also some thoughtful camera talk along the way, not for its own sake, but as part of a larger conversation about the physical experience of making photographs and why that still matters. 

From there, the conversation opens out into the latest Artemis moon mission photographs, which become the real heart of the episode. Rather than treating them as mere space documentation, Antonio and Ward look at them as photographs and ask why some hit harder than others. They talk about the emotional pull of images that include the astronauts, the wonder carried in views of crescents, eclipses, and Earth seen from deep space, and how these pictures connect to memories of growing up during the moon missions. The discussion also touches on how differently such images reach us now, arriving instantly in a time when photographs are everywhere and trust in them is no longer automatic. It is a thoughtful episode about wonder, memory, and the human side of seeing. 

NASA Images can be found here.

Photo of Neil Armstrong

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"When you make a print, you are making an art object. You can’t hang a scan on the wall."

"One of these days, I'm going to publish a book of all the pictures I did not take. It is going to be a huge hit."

In this episode, Antonio and Ward focus on printing as a way of bringing photographs off the screen and into physical form. Using their recent conversation with Gavin as a starting point, they talk about books, zines, print exchanges, and the appeal of making photographic work tangible. They also discuss paper choice, including the look and feel of thicker fine art papers, and how printing decisions affect the final presentation of an image. 

The conversation moves into the practical side of selling prints. Antonio and Ward talk about questions around print fulfillment, whether to handle printing personally or use a service such as SmugMug, how much control a photographer should keep over size and presentation, and how to decide which images are right for sale. The episode centers on the process of moving from digital files to finished prints, and on the choices photographers face when they want to share or sell their work in physical form.

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