IN CONVERSATION WITH ASEN GEORGIEV Photography has always been the one thing Bulgarian street photographer Asen Georgiev has always identified with. His first contact with photography was his parents' old point and shoot film camera...the shutter sound sparking his passion. Later on, he discovered street photography and has since become fascinated by the people and their environments, capturing both the beauty and the imperfections. Every time Asen goes out to take photos he feels likes he is part of something bigger, but a part he can also just be himself. "I photograph things to see what they look like when they are photographed." - Garry Winogrand Asen please tell us about yourself. I was born and raised in Sofia, the capital of Bulgaria, a tiny little country in south eastern Europe. Where I grew up has massively influenced my work. As the most underdeveloped country in the European Union, there is a lot of poverty in Bulgaria. It was worse when I was little but it's still there, even more than 20 years later. Even now when you leave the bigger cities you see people living on the poverty line and struggling everyday. I guess that's why I was always fascinated by chaos and all sorts of different people from different layers of society. For that same reason I learnt that people are people no matter what's their income, where they live or what they do. That's one of the reasons why I got into street photography. I wanted to be able to capture life in the city, in its beauty and disfigurement. I'm still living in Sofia currently. I just finished my undergrad in marketing and am currently working as content marketing specialist in a startup, and doing freelance copywriting and marketing gigs whenever I get the chance. What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience on the streets of Bulgaria. When I was little my parents had an analog point-and-shoot Beroflex camera and I adored clicking the shutter. Eventually I found out that this sound meant that a picture was taken. When my parents were coming back with the developed negatives from the photo studio, I loved staring at them and trying to invert the colors in my mind. Some years later we had a field trip organized from school and they let me take that same camera with me. I shot an entire roll of film for the few hours we were there and I loved every minute of it. Fast forward a few more years and smartphone cameras were getting pretty decent. I remember taking photos for an entire afternoon at a nearly deserted beach that my family and me went to and being very happy while experimenting with different compositions. Since then photography has constantly been a part of my life in one way or another. The year after my dad retired as a firefighter and bought me my first DSLR. It was a Nikon D3100 that really sparked my interest in photography. One more year later, in high school we had a complimentary photography class taught by a photojournalism lecturer from the Sofia University. That was my first contact with street photography and photojournalism. He was telling us stories about Sebastião Salgado, Henri Cartier-Bresson, Robert Capa, Garry Winogrand and many more of photography's greatests. That's when my street photography journey began. Photography on the streets of Bulgaria can be very challenging at times. Not because people don't like it, even though that also tends to happen, but because a big part of the cities are the same. That's what communism does to your country after all. It loses a big part of its personality, loses many of its resources and is left bankrupt... Lately I find myself walking through neighborhoods in Sofia that I haven't photographed before. In summer it's great, there are always people outside, a lot of stuff going and plenty of scenes to photograph. In winter, though, it's dead. Everyone rushes home and there's only action at major bus stops and subway stations. But that's also got its charm. What is it that you love most about street photography? The freedom. Street photography can be inside, outside, you can have people in it or only buildings. It can be anything. This can be very challenging, though. In my opinion the biggest limitations to creativity is the lack of limitations. It's basically a love-hate relationship. What are some of your most favorite places you find inspiration to explore through your photography, and what draws you there? In 2021 I was lucky enough to be able to spend an entire month in Turkey. It's a breath-taking place. Not only Istanbul too. Every corner of it. There's always something going, there are people everywhere, selling, playing, running, smiling, doing all sorts of stuff. Before photography I wasn't nearly as attracted to Turkey as I am now, so I guess that's the place that I explored because of it. What role has the digital community played in your photography journey? As a 25-year old my generation is the last that saw an analog world. This is great as it makes me appreciate how much freedom the digital era is giving us. Especially when it comes to the photography community. I'm glad to say that lately the street photography community in Bulgaria has been steadily growing. If it wasn't for the digital era, I wouldn't have met any of the other Bulgarian street photographers. And there's so much quality there. It would've been a shame to miss it. About my photography journey...well, the digital community helps you understand that the work you do is average at best. It helps you ground yourself and not think you're something you're not. When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. It's very rarely that I'll shoot with a concept in mind. And even when there's something of a concept that I'm trying to shoot, it's very vague, so it's fair to say that I shoot what comes to me. I think my process is like any other street photographer's. I simply walk around. Usually my camera is easily visible and I never try to hide the fact that I'm taking a picture. If you try to hide it people are going to think you're doing something bad and either get uncomfortable or get mad at you. After going out to shoot I usually wait a few days or a week before editing the photos. That's something I learnt after starting to shoot film more than 2 years ago. The more you slow down, the more likely you're to end up with an ok shot. Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? Oh yeah, plenty. When it comes to photography, the photographers that have impressed me the most are Alex Webb, David Alan Harvey, Robert Frank and Sebastião Salgado. There are more, of course, but these are the ones that first come to mind. I believe the reasons why they're so significant is obvious to anyone who's seen their work. It's simply genius. It's pure art. About other artists... I'm very passionate about music so there are a lot of musicians that inspire me. There's the whole grunge era with Chris Cornell, Eddie Vedder, Layne Staley, and of course, Kurt Cobain. The movement they created, their music, their passion, their inability to give a fuck... It's unbelievable! If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? I guess they have to be alive, right? That would be either Sam Abell, Alex Webb or David Alan Harvey. I put Sam Abell there as I watched a lecture of his online where he explained his process. The way he decides to tell a story, how he composes his shot, the dedication... All of it. Alex and David because they're my biggest inspiration. I want to see how they work in the field, how they see the world, how they interact with it. It would be like seeing magic. What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? I think it was that point-and-shoot Beroflex camera my parents had. I still have it too and it still works. I actually took one of my favorite photos with it last year. Now I mainly shoot with my Fuji XT-20 and my Ricoh GR III. I also use a few analog cameras, among which a Nikon FG-20 and a Russian Zorki 4. I think different equipment gives a different vibe to your work. If you shoot film, your photos will have more imperfections. That gives a lot of personality though. Digital is different. It gives you more room for creativity and kind of takes you closer to your subject. They're both great though. When it comes to wishlist...Well, I've wanted to get a Leica, be it digital or analog, but I don't think that's ever happening, with their prices always going up. I've also been considering getting a Fuji X100 series camera at some point. What are some of your goals as a photographer? Where do you hope to see yourself in five years? That's a tough one. I definitely want to keep shooting. I want to work on project, document life in all corners of the world, hopefully work with embassies. There are a few projects I have taking shape in my head and I hope I'll be able to complete at least some of them within the next five years. "When I am not out photographing, I (like to)… I like to disconnect. I want to be there and then and nothing else to exist. I often want to be invisible and simply capture what's interesting." All photography © Asen Georgiev

IN CONVERSATION WITH CHETAN VERMA For as far back as Chetan Verma can recall, photography has always attracted him. He clearly recalls how he used to love clicking on his grandfather's film camera. But then life happened, and Chetan became preoccupied with studying and establishing a career. So, when he bought his first DSLR around 2011, his amazing new tool instantly won Chetan over. Around 2016, by chance, Chetan was introduced to street photography, and he started taking the camera out on the streets. He discovered a new dimension of love for photography. Street photography, to Chetan, is fun. To him, the fact that no moment can be repeated gives him the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. Over the last couple of years, Chetan has been intentionally photographing the affable dog. Finding them pretty much everywhere on the streets in India, anyone documenting the streets are bound to encounter them. The photographs in this collection are frames where Chetan has made the lovable dog the star. Chetan points out that, over the past several years, he has made great strides in his relationship with dogs, going from being initially terrified of them to making them the focal point in these pictures. Through his long term project Chetan has created a wonderful unexpected connection to an unexpected community. Hello Chetan, tell us about yourself. How does where you are from influence your work? I grew up in Mathura in the state of Uttar Pradesh, India. It's a small town but is well known throughout India and the world (if I may say that) as the birth place of Lord Krishna. Although I have been a student of science, I have always had good taste in music and arts in general. My aunt studied arts, and was deep into drawing and painting. My grandfather, who had retired as a doctor from the Army, was a great storyteller. And although I grew up in a large joint family, I was always his favorite and so he never stopped from playing with his film camera too occasionally. And though these things may seem small, I truly believe that all of this had a great impact on me and my taste in the arts in general. At present I work as a Software Engineer with an Investment Bank in Gurgaon, India where I live with my lovely wife Pooja and our 11 year old daughter Aanya. What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience on the streets of India. After I did my Master's in Computer Science, the next couple of years went by quickly - job, marriage and everything in-between. Then just after marriage, I got a chance to work in the United States for around 2 years. We were in our mid twenties, and so the idea was to visit as many places in the USA as possible and to save those memories, I bought a point-and-shoot camera. I captured some beautiful memories in the USA and we returned back to India in a couple of years. Then it was around 2016, the time of mid-life crisis for me, when those philosophical questions started to creep in my mind - what am I doing, how can I find happiness, what do I really love doing. And it was my wife who helped me find the answer - "Just pick your camera, go out, and shoot", she said. And like a good husband, I followed her advice 😉. I came across some groups who would go out and shoot in Delhi, which is just an hour's drive from Gurgaon. The groups would mostly go to the historical monuments, and Delhi has so many of them. I am an introvert, so these photowalks helped me a lot to get confident walking with the camera and being able to shoot. Delhi is heavily populated so it's impossible to shoot without people getting in the frame. Even if this sounds unbelievable, trust me, this is true. And so one walk turned to another, and soon I started getting comfortable going out solo. I was shooting everything - monuments, flowers, walls, people - you name it. Then one day I came across the gallery of Navin Vatsa on Instagram - I am sure it was that day when I really got hooked to this genre of Street Photography. I will talk more about this later as I can see there is a question further down that is more apt for talking about Navin's work. What is it that you love most about street photography? Street photography, to me, is fun. The fact that no moment can be repeated gives me the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. As Obie Oberholzer said - "I don’t believe that one photograph is better than another; rather one is more interesting than another. So, basically, 'you get what you take'. If the objects in front of the camera are interesting enough ‘you take them’, and if they are not 'you make them'." What have been some of your most favorite places you find inspiration to explore through your photography, and what draws you there? What I absolutely love about Street Photography is that one doesn't need an 'ideal' location for it. Many great photographers have done amazing work simply documenting their neighbourhood. Still, if I were to list some of my favourite places, Delhi would top the list, as that is where I live and so it is always accessible. Knowing a place helps, as you understand the dynamics of it - the more you visit a place, the more you know of when it's empty, when it is crowded, where and how will the light and shadow play, and so many other things that are quite important for Street Photography. It's a city in the mix, modernity of South Delhi and Gurgaon with their high rises and shopping malls, the narrow lanes of Old Delhi with its chaos, the banks of river Yamuna where at times you get a glimpse of a life full of peace. Three years back I got a chance to visit London for work for 2 weeks, and so over the two weekends I explored whatever was humanly possible and fell in love with the art galleries and the streets. What role has the digital community played in your photography journey thus far? If it's social media you are talking about, then I truly believe these platforms are simply tools - how you use them is up to you. You can use it to share your work with the whole world, get feedback, observe and learn how the master's shoot and so many other great things for improving your photography. I have been active on Instagram for a couple of years now and I personally like it a lot for the kind of reach it has. Of course there are some things I do not like about it - including the way it has started giving undue focus on video's and the promotional content, but I think the pro's weigh much more heavily against the con's at the moment for Instagram. When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. Street Photography is all about the moment, and so by its nature, it can't be planned. I go out with my camera with a clean mind, and then let my intuition guide me. If I see an interesting stage on the street, say light falling at a certain angle, or an interesting graffiti on the wall, and if I think a specific subject crossing my frame will make for an interesting moment, I do wait, but not for long. I prefer coming back to the same location next time rather than waiting for hours at a spot. Having a concept in mind could be an interesting way to challenge oneself, but since I normally go out for photography only over the weeked, I do not have this luxury at the moment. I make the best of the time I get for photography. Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? Navin Vatsa would top the list for me. I consider him my Guru of sorts - in my initial days while I was new to Street Photography, it was his work that got me hooked to the genre. Then as I understood it more, I came across works of many other masters of Street Photography. His images are very strong emotionally, and I think that is the prime reason why I connect with them being quite an emotional person myself. Apart from Navin Vatsa, some of my favourites are Vineet Vohra, Henri Cartier-Bresson, Alan Schaller, and Matt Stuart. If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? This is a really tough one. If it has to be one, then I will prefer to go along with one who can teach me most. The reason I say so is that explaining and teaching someone how you work, think and act is such a tricky part, so I am sure not all great photographers would make good teachers of Photography. So my reason is purely selfish - I would like to go with one who helps me grow most as a photographer. Do you have a favorite photography/art quote that has been an inspiration to you? Many learned and enlightened beings, including great photographers have said this one thing in one way or another - "There is no shortcut to practice"...and I truly believe in it. It's one thing to read books and attend workshops, but nothing is going to be fruitful if I do not go out and shoot. What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? I am 100% sure it was my grandfather's film camera, but unfortunately I have forgotten which brand or model it was. There is a high probability that it could be lying in some box at our ancestral home, and I hope to discover it one day. Currently I have a Nikon D750, which I must say is a fantastic camera. I have recently bought a Fujifilm XE4 as well for times when I want something compact during travel. As for my wishlist, I hope to save money and buy a Leica someday. I really want to experience first hand why pretty much all the great photographers use a Leica 😊 What are some of your goals as a photographer? Where do you hope to see yourself in five years? I have just one goal, to be able to "see" better from a photographer's point of view. Photography is a hobby and passion for me, and I want myself to be a forever learner in this field. “When I am not out photographing, I (like to)… Travelling, playing chess and spending time with family, to name a few.” All photography © Chetan Verma

IN CONVERSATION WITH MIRKO KARSCH From the point of view of Berlin photographer Mirko Karsch, street photography is a contribution to the debate on the documentation of contemporary forms of life in the psychological, ecological and architectural sense. The urban city is both a stage and an object of social conflict, and ultimately a result of social processes. Mirko gained his first photographic experience in New York City in the 1990s. It wasn't until much later that he realised that he had been doing street photography intuitively. Since then, his approach has remained the same, looking deep and finding interest in the everyday. Lucky enough to photograph regionally and worldwide, Mirko observes and see the potential in whatever has been put in front of him. Hello Mirko, tell us a little bit about yourself. How does where you are from influence your work? I originally come from Hamburg and grew up there sheltered. That was quickly too narrow for me and was the reason why I looked for things that deviated from what I found at home. Later I moved to Frankfurt and Madrid. Since a few years I live in Berlin. So I've been around a lot in Europe. The interest in new and different things, is of course also reflected in the photography. I like to try out new things. What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience in New York in the 1990s and how that mapped your photographic journey to who you are today. I got my first camera as a confirmation gift. I think a camera was a kind of status symbol back then, like a cell phone is today. I took my first serious photos in New York without giving it much thought. I simply photographed what I liked in automatic mode. That was film photography, of course, and it wasn't until much later in Hamburg that I realized that I liked both the pictures and the style incredibly well. And so I began to consciously pursue street photography. Introduce your series "St. Pauli during the day" to us. This series focuses on the district St. Pauli in Hamburg, Germany. St. Pauli is incredibly multifaceted and is especially known for its nightlife. You can find here an immense number of bars, pubs, restaurants and clubs. But St. Pauli is also known for its red light district and there are problems with violent disputes from time to time. The district is also interesting because it is located directly on one of the largest seaports in the world, and this fact still characterises what St. Pauli is today. But what does it look like during the day when the night owls have disappeared? Are the pubs empty then? Who lives in St.Pauli? What does the true soul of the district look like? Sometimes life in St. Pauli seems like a cycle to me: In the evening the tourists come, at night the Hamburg nighthawks, and when the trash is pushed aside in the morning, the neighborhood belongs to its residents again until the next evening. Since the 90s, I have been on the streets of St. Pauli again and again. Deviating from the usual customs, I liked to stay here even during the day. Looking back, I'm not sure it was wise to spend so much time in pinball arcades, but this place has an inexplicable attraction for me. Endless possibilities - even during the day. The people I meet during the day, young and old, have an alternative lifestyle, others seem to have none at all. There are pubs and bars that never seemed to close. Some play hard techno sound, others shanties. In the Summer there are open-air festivals and art projects. There is a huge event area here where folk fairs take place and a large soccer stadium for a professional team is located right next door. And above all this watches a bunker from the Second World War. But this is also where normal life takes place. Children are taken to school, postmen deliver the mail, suppliers deliver to pubs and the laundry is washed in laundromats. St. Pauli is also home to two churches, who care about the well-being of the people of St. Pauli. St. Joseph-Kirche is located in one of the noisiest and wildest streets of the district, which represents a bizarre contrast. The other church, St. Pauli Kirche, is located between the entertainment district and the port. The park-like property is open to all residents. They like to use it - even just to play a game of ball and enjoy a cold beer. How much change is healthy? Of course, gentrification has not stopped at St. Pauli and many cherished things have disappeared. In order to understand this, you have to know that historically St. Pauli was a part of the city where mainly the working class and low-income groups settled. This is still noticeable today, but due to the aforementioned displacement through gentrification, fewer and fewer of the resident population can afford to live in St. Pauli. But the changes on st. Pauli also show themselves in other ways. The local beer "Astra" is no longer brewed here and the commercial sprees seem to be scaling ever new heights, especially in the evenings. On the other hand, people were already grumbling about the new entertainment formats in the 90s. Change is part of the big city. Not only in Hamburg. And the fact that a district is developing is not necessarily negative. An example of this is the public park "Park Fiction", where young people especially like to spend their free time. Here is played a lot of basketball or it is the lawn just enjoy the view of the harbour. What has remained are many beautiful things, such as the harbor panorama, which I will probably never get tired of. St. Pauli is still the place that attracts many young people. New things are constantly being created. The district never seems to sleep. It is a lot of fun to stroll through St. Pauli during the day. Everything is unstressed and the observations are quite different than at night. How and why did this project first manifest for you? What was the inspiration? I have known St. Pauli since the 90s and have always been attracted to the district. Even then I was often on the road during the day in St. Pauli and was fascinated by the people who live and work there and the many opportunities they have. I don't think many people understand that St. Pauli is of course also a completely normal place where children go to school, people buy bread and the churches invite people to prayer on Sundays. In addition, I was naturally interested in the contrasts with the "night shift". Actually, St. Pauli exists twice. It wasn't until much later that I came up with the idea of documenting everything photographically. Talk to us about your method of working and experimentation during the project. What was a daily itinerary for you? Is the project ongoing? I know St. Pauli very well, but I did research beforehand and looked for spots that I found relevant and interesting. Otherwise, I was the typical flaneur, wandering the streets looking for suitable locations. I plan to keep this project going for a while, as I am sure that St. Pauli has much more to offer. There is no final date. Finally, what do you want people to take away from this project? What do you want them to be asking themselves or to think about? I would like to encourage people to observe things a little more intensively and to look behind the scenes. It is also incredibly important to talk to the local people. So doors open and you get a feeling for the people and their way of thinking and living. What is it that you love most about street photography? Street photography is diverse and has more to offer than the decisive moment. It has a documentary character about it and shows everyday life. Street photos preserve the present for future generations. In that sense, street photos have a lot in common with wine: they get better and better over the years. Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? I consider Harvey Stein to be an excellent photographer. I find his long-term series, which span up to 50 years, very inspiring. Ian Howorth is in my eyes an excellent exponent of the cinematic photography genre. Finally, I appreciate Alec Soth for his great documentary work. If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? I would love to spend a day with Alec Soth. He has published excellent photography books in the last few years and I really appreciate his photographic style. I am sure I can learn a lot from him. What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? My first camera was the Yashica AF 200 and I'm glad I still have it and use it from time to time. It's amazing how much image quality is in such old cameras. Nowadays I mainly use the Nikon D7500 as an all-round camera and the Lumix LX100 II for street photography. The Nikon allows me to use all angles thanks to the F-mount. In addition, the image resolutions are excellent even at night. With the Lumix, I can go where I would stand out or be disturbed with the big Nikon. Since I'm completely satisfied, I'm not planning a new purchase at the moment. What are some of your goals as a photographer? What direction do you think you will take your photography? Where do you hope to see yourself in five years? I have noticed that I am moving more and more away from pure street photography towards documentary photography. This fits very well with my next project: A documentary about the Berlin skateboard scene. Maybe there will be an exhibition in 5 years (or sooner). “When I am not out photographing, I (like to)… Spend time with the kids. And skateboarding of course!” Thank you Mirko! All photographs © Mirko Karsch

INTERVIEW July 29, 2022 SERVICE INTERRUPTION ​ Photography by Wojciech Karliński Interview by Melanie Meggs The clatter of an old train station is more than just a sound - it's a promise of adventure and exploration, the sound of a story unfolding. For Wojciech Karliński, a Polish photographer, the train station has been a source of inspiration. His photographs capture the beauty of the train station in all its complexity, whether it be in its aging form or during transformation. For his latest project, Wojciech has turned his lens to the train stations of Poland. He wanted to document the small and large stations and edited the images in black and white to highlight their formal and aesthetic sides. Yet, what makes this series unique is the way in which the Covid-19 pandemic has changed the train station experience. As if the stations had suddenly become ghost towns, Wojciech captured the eerie emptiness and the impersonal faces of travelers wearing masks. It became a visual representation of a surreal moment in time, a stark reminder of how much has been lost. This project marked an emotional challenge for Wojciech, as he grappled with the feelings of alienation and surrealism that came with photographing these empty train stations. Yet, the resulting images are as captivating as ever – they tell a story of a nation in transition, of dreams, nostalgia, and a longing for a return to normality. Through them, Wojciech Karliński paints a vivid picture of how train stations remain an integral part of Poland’s history and culture. “When using this type of public space, we do not think about its visual side. The time spent in it is focused on getting to the right platform and train. However, this space also has a lyrical face, which I tried to show in monochrome photography. Black and white bring out a slightly different form from these places. More intriguing, surreal and less narrative or sociological.” IN CONVERSATION WITH WOJCIECH KARLIŃSKI THE PICTORIAL LIST: Wojciech, please tell us about yourself. WOJCIECH KARLINSKI: I grew up in Poland ruled by communists. I am the generation of the martial law. In December 1981, I was 17 years old. Like most of my peers at the time, I was convinced that the Soviet Army was about to enter and I would have to become a partisan. Luckily, nothing like that happened, but it seems to me that these events had a strong influence on me. Until I was 12, I grew up in a small town in the north of Poland, then I moved with my parents to Łódź. It is the second largest city in Poland. Very working class, very specific. This is where I got involved with the punk movement and then with the anarchist movement. I have changed my place of residence many times. I travel a lot using public transport. I often changed jobs every now and then, dealing with something else, so far I had a dozen or so professions. Currently, I have been living in Kielce for three years. I am professionally involved in photography. TPL: What draws you to photography? How did your journey into photography begin? WK: Honestly, I don't remember what attracted me to photography. I have been doing it more or less intensively almost always. My first camera was the Soviet Smiena 8M, which I took pictures of my classmates. Then I had a Zenit TTL with a canvas shutter for a long time. The fastest time was 1/30 and was made like a T34 tank. However, I was not able to publish the first photo until 1999 in Tygodnik Powszechny. It is a very prestigious magazine in Poland. Then I worked for a long time with the Znak Publishing House. I took pictures for them for the covers of such well-known titles as "The Pianist" by Władysław Szpilman and "Oskar and Pani Róża" by EE Schmitt. What attracts me to photography? I think mainly with pictures, so photography is a natural form of expression for me. TPL: Introduce your series "Train Stations in Poland" to us. How and why did this first manifest for you? What is the full story behind the project? What was the inspiration? WK: The idea of ​​the project appeared during the creation of the series "Long-lasting transition state" (you can see it here: https://dlugotrwalystan.pl ). Railway stations appearing in the photos have become a pretext to show their formal and aesthetic side, not as in the previous project, where the main emphasis was placed on the sociological and social aspects. The photos for "Railway Stations in Poland" were created independently of the previous project, but also during its duration I thought about showing the "different side" of railway stations. When using this type of public space, we do not think about its visual side. The time spent in it is focused on getting to the right platform and train. However, this space also has a lyrical face, which I tried to show in monochrome photography. Black and white bring out a slightly different form from these places. More intriguing, surreal and less narrative or sociological. 'Torun Miasto' © Wojciech Karlinski 'Kolobrzeg' © Wojciech Karlinski Grudziadz © Wojciech Karlinski 'Miedzylesie' © Wojciech Karlinski 'Wroclaw Glowny' © Wojciech Karlinski 'Klodzko Miasto' © Wojciech Karlinski 'Piotrkow Trybunalski' © Wojciech Karlinski TPL: Talk to us about your method of working and experimentation before the final image. Did you know exactly what you wanted from the beginning? How long did each image take to create? WK: In the beginning, I always only have a hazy outline. The shape of a project is always created while working on it. After about 25% of the photos, I know what the final form will be. As for a single photo, I always know what it will look like while pressing the shutter button. I take photos with a small Ricoh GR III or Fujifilm X-T4. Working in RAW. I pre-invoke them in Lightroom or Capture One, then export them to Photoshop. I also edit my black and white photos at NIK Silver Efex. I love the APX 100 and APX 400 simulations. Because these are the films I liked to shoot with in the analog era. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? WK: I have answered this question a bit earlier. The first camera. Soviet Smiena 8M. A simple telescope camera. Everything in it was arranged with symbols, clouds, sun, tree and a man. Shooting with it was magical. You never knew what the effect would be, the more so as the films usually had around 50 ASA at that time. I am currently photographing with the Ricoh GR III and Fujifilm X-T4, I love these cameras. Fuji is a machine, a tank. The Ricoh GR III is irreplaceable in places where it can be difficult or confusing to pull out a larger camera. Its poor autofocus is compensated by an excellent matrix and a great lens. Works on APS-C. I don't need a full frame for anything in my photography. And the weight and dimensions of full-frame cameras would only disturb me. I also rarely take pictures with a shallow depth of field. Most often I close down the lens to f4. ​ ​ Photography is a natural form of expression for me. I love normality and cliché. Ordinary places that many people see everyday without realising their beauty. TPL: Do you have any favorite artists or photographers you would like to share with us? WK: I like Alexander Rodchenko, Harry Gruyaert, Stanko Abadzic, and Martin Parr. TPL: What are some of your most favorite places you find inspiration to explore through your photography, and what draws you there? WK: I love normality and cliché. Ordinary places that many people see everyday without realising their beauty. ​ ​ 'Ziebice' © Wojciech Karlinski 'Okonek' © Wojciech Karlinski 'Dlugopole Zdroj' © Wojciech Karlinski 'Czestochowa' © Wojciech Karlinski 'Sedziszow' © Wojciech Karlinski 'Bierutw' © Wojciech Karlinski 'Zlocieniec' © Wojciech Karlinski 'Lublin' © Wojciech Karlinski TPL: Are there any other photographic projects you are working on, or have planned in the near future? Where do you hope to see yourself in five years? WK: I am now working on the 'Big Dream of Small Towns' series in black and white. It will be a story about housing estates built by communists in small towns. At that time, apartment blocks were a symbol of progress and modernity. They were the pride of small towns, they were boasted about them and shown on postcards. They are no longer a symbol of modernity, but they have not turned into slums either. Where do I see myself in five years? I would like to do a project about Poles living in Serbia. In five years I would like to be in Serbia and working on it. TPL: “When I am not out photographing, I (like to)… WK: I am wondering...I'm still photographing or editing photos.” ​ ​ Wojciech Karliński's series on the train stations of Poland show us how the Covid-19 pandemic has changed the experience of travel. His captivating images demonstrate the power of photography to capture moments in time and tell a story. By immersing us in the nostalgia, dreams, and longing of the train station, Wojciech has reminded us of its importance in Polish history and culture. We invite you to take a look at Wojciech Karliński’s work and to explore more of his photography projects. VIEW WOJCIECH'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. THE RHYTHM OF MY PHOTOGRAPHY Mena Sambiasi is not afraid to try new things, living in the moment, finding a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. CALL AND RESPONSE Three women have found a symbiotic relationship, creating pictorial conversations through the device of triptychs. PHOTOGRAPHY AND REALITY In her project BODY NO BODY, Ypatia Kornarou draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. COLOURS SUSPENDED IN TIME. GEOMETRIES OF AN ISLAND Alessandro Giugni shares the secrets behind the colors in his bright and colorful reportage of the Island of Burano. NOT FULLY VISIBLE Nsiries allows himself through his photography to create and visualise a bridge that connects his very hidden innerself with the real world. THE CURIOSITY GAP Samuel Ioannidis is a photographer who searches for beauty through light, color, and lines, communicating his story and generating a curiosity gap for the viewer. SOHO SHADOWS Using layers and reflection, shadows and light in his photography, Darren Sacks wants to show the frequently photographed Soho in a slightly different way. THE STREET LAMP Fabio Catanzaro focuses on the street lamp, predominant in the viewpoint, where its aesthetics outweighs its utility. ON THE STREETS OF SAN FRANCISCO As the fog rolls in off the bay, photographer Stephen Laszlo may be found walking the streets in his beloved San Francisco with Leica in hand and a sharp eye out for slices of life. WELCOME TO STREET LIFE Street Life is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St. and Mark Davidson. SOHO SMALL HOURS Laine Mullally placed herself in the midst of moments rich in emotion as she wandered around in Soho at night. GOTHAM MEMORIES: NEW YORK CITY (1969-2022) Wandering the streets with his cameras, urban observer Jeff Rothstein has been photographing New York City since the dawn of the 1970s. ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. NOSTALGIA In her own words Monika K. Adler tells a poetic and emotional story of an immigrant's remembrance of a life disrupted by war. SIMULATION THEORY Mattia Bullo seeks to explore a very particular and curious feeling: the feeling of slowly losing touch with reality.

INTERVIEW May 5, 2023 CROSSING THE AVENUE ​ Photography by Juan Sostre Interview by Bill Lacey Driven by passion, hunting for the right light, the right expression, the right pose…photographer Juan Sostre’s work is at once recognizable. Bold, in your face, sometimes pretty, sometimes anything but. Filled with boundless energy on the street, he is both a fly on the wall and a bulldog with a flash. Walking with Juan on the street is both exciting and informative. He’s a walking masterclass of street technique. He shoots without hesitation where others might. Raw, edgy, in black and white or color, Juan's street portraits unearth something below the surface that most fail to capture. Juan is also an amazing curator of street photography. His AVENUE magazine features some of the best street photographers to be found anywhere. His layouts, selections…always the right choices. A magazine that is both fun to flip through yet deserves a spot on the bookshelf along with some of the best photo books in your collection. Juan shoots with a 28mm lens on a Leica Q2, a Ricoh GR3, and a Fuji X100V, which allows him to get up close and personal. These raw and edgy shots transport the viewer to the very heart of this snapshot in time. If you’re lucky enough to walk with him on the street, you’ll likely see things in a whole new way. So take a walk with us, feast your eyes on his amazing work, and cross the avenue with Juan Sostre. “My street photography is 80% candid shots and 20% staged. I’m more a hunter than a fisher. Those candid shots are ones in which you can feel the action, the movement, the spontaneous second in life unexpectedly, without necessarily having the subject entirely in the frame or straight. The 28mm focus length allows me to archive those compositions and get close enough to capture their breath and get my artistic vision. Like a Fly, I'm there seeing you from the point of view that the human eyes are not used to seeing. Maybe in silence, or maybe I make you uncomfortable. I hope the viewer feels and gets that when they see my work. Even when I’m not closer to my subject, I still want to keep that point of view, where my composition makes you see what human eyes are not used to approaching.” IN CONVERSATION WITH JUAN SOSTRE THE PICTORIAL LIST: Welcome Juan! To get started please tell our readers about yourself. What would you say first drew you to photography? JUAN SOSTRE: I studied Image & Design at La Escuela de Artes de Puerto Rico in Old San Juan, where I took a basic photography class, learning how to work in a dark room. It was not until a few years later, in 2007, that my passion for photography started showing up when I needed to start capturing my son's mom's belly. After my son was born, I started capturing those same moments for other families. In 2017, Puerto Rico was ravaged and flooded by Hurricane Maria, and that was when I fled to California to start a new life with my son. I knew I needed extra money since I was without a job and living off my savings for the first few months. Unfortunately, I was forced to sell my camera just to make sure that I had enough money to put food on the table for my son. I was blessed to get a job in an Advertising Agency as Creative lead / Senior Art Director here in California, but it wasn’t until 2020 that I started to find my footing with my work and life. TPL: What was the first camera you ever held in your hand, brought to your eye, and released a shutter on? What is the camera you use now, and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? JS: After using a Canon for years, I bought a Fujifilm X100V 35mm-equivalent focal to use in my day-by-day commute on the train between San Jose and San Francisco. It was that time when the pandemic hit us, and I tried my hardest to keep shooting as much as possible, even shooting portraits at my place with some models, just to get to know my gear. Then I discovered the Ricoh GRIII 28mm through a friend, and I knew from then on that was going to be my preferred focal length. Since September 2022, I have been shooting with a Leica Q2 28mm as my main camera, and it completely helps me to archive my vision in photography. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you," or is it both? Please describe your process. JS: I never go out with something in mind. I love being spontaneous and a hunter and going with the vibe of the day. Maybe I can make a stop for a few minutes and be a fisher depending on the location and weather. Most of the time, I keep walking to see what shows in front of me, and then I press the shutter without any hesitation. I barely use my viewfinder to get those points of view. I may look at it or at the screen to see if I got the shot, which I always shoot in black and white and lets me focus on the composition of the frame and don’t get distracted by the colors that I already saw. And never go back home and look at my frames the same day since I don’t want to get influenced by the excitement of my day if it was a good one. TPL: How do you educate yourself to take better photos? JS: First, I go out there and shoot as much as possible. Either local in the Bay Area, especially in San Francisco, or travel to other countries to have a different stage and people cultures. Collaborating with my colleagues and having a great conversation about photography with a beer in hand, sharing feedback about our work with respect. Also buying books and a lot of YouTube videos related to film or digital photography. TPL: Do you have any favorite artists or photographers you would like to share with us and the reason for their significance? JS: When I was an art student, I was a big fan of Salvador Dalí and René Magritte, among many others. The same with photography, I have been influenced by a few great names like Mark Cohen, Bruce Gilden, Saul Leiter, Garry Winogrand, and many others as well. Without taking credit away from so many talented ones on Instagram and my colleagues and friends, photographers with whom I walk the street and shoot monthly, and others in other cities. I have learned from each of them, and I'm grateful for that. I will say Mark Cohen’s work has been my biggest inspiration to be the fly I am today. TPL: What have been some of your most favorite places you find inspiration to explore through your photography, and what draws you there? The City of San Francisco, I will say, because it is where I’m shooting most of the time. The diversity of neighborhoods and people. The weather changes constantly. But saying that, I will say that I have been to New York, London, and Barcelona recently, and each city is unique and inspires me in different ways. The way I approach my subjects, the weather, and the time of the day, and I’m looking forward to continuing to discover more cities that can make me grow and keep me inspired on the streets. I love being spontaneous and a hunter and going with the vibe of the day. TPL: What are the origins of The Avenue magazine? JS: As a creative designer, when I started shooting in the Bay Area, I noticed that there was not a platform out there, such as a magazine or zine, to showcase the work of talented street photographers. We only had Instagram, where everyone was sharing their photos, but for me, it isn't the same feeling. A better one that you can grab in your hand, start flipping pages and start your own collection of good work. I started designing and curating by myself "The Avenue - Street Photography Magazine." The support was great from the first edition. After the first one, I felt the need to expand it outside of the Bay Area and has been the best decision I made. Since then, more street photographers around the world have been part of it in different editions and have arrived in countries I never expected. My mission has always been to highlight those well-known photographers and incoming ones to allow them to share the same space and share the different styles of street photography and learn from each other. TPL: What are the greatest challenges of publishing a magazine? JS: I will say for me, the biggest challenge is having a good budget to produce the magazine. I do the design and curate it, and then I send it to a fulfillment that takes care of the printing and shipping. Which means they take 90% of the profit. People think that I'm making money out of it, but it is not like that. I just continue because I feel and know that we need The Avenue Magazine and more platforms like this one to keep showcasing the great talent out there. It is not the same to see a frame on Instagram as having it printed, like back in the day. I respect and admire the other magazines out there that are doing the same in the east side and around the world since I don't see them as competition; I just see them as colleagues that are helping to expand our vision. I have so much passion for this magazine and believe in the talented street photographers out there that I know one day I will be producing and taking care of everything in-house, and I hope to keep counting on the support of the community to keep going. TPL: What is the most rewarding part of being a photographer for you? JS: Wow! Seeing the final product printed and turning that second that will not come back into a lifetime one where people can appreciate it per year. Connecting with others around the world that share my same passion. There are so many rewarding moments. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? JS: Yes! I’m actually getting ready to be part of a Street Photography Collective Exhibition called “THROUGH OUR EYES” on May 6th in San Francisco, California, where I will be sharing walls with my super-talented friends Harry Williams, Demondre Ward, Patrick Stevens, Harvey Castro, and Stephen Laszlo. I feel honored about this one. After that show, I want to continue working on a project based in Downtown San Jose and start giving form to it. Then I will get ready to curate the work submitted by photographers for issue #5 of The Avenue Magazine. TPL: What are some of your photography goals? Where do you hope to see yourself in five years? JS: As a street photographer, one of my goals is to continue traveling to other cities, like Tokyo, Colombia, Brazil, and many others, to step up my game. Meet more local photographers from those cities and share the street with them. I’d like to continue showing my work in collective exhibitions and one day make my own on my island of Puerto Rico. I’d love to curate and be a judge in one of the prestige street photography festivals in the next five years. Last but not least, get to publish my second book and get it designed by a close friend. TPL: “When I am not out photographing, I (like to)… JS: When I’m not on the street with my camera, maybe I’m at home designing, but the truth is that I switch from being a photographer to being “Papi.” I spend most of my time with my teenage son and looking at what to do to create memories with him.” Juan's work captures the attitude and emotion of the streets in a way that is both captivating and inspiring. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. So use the links below and feast your eyes on his amazing work. Get ready to be transported by the street photography of Juan Sostre. VIEW JUAN'S PORTFOLIO Juan's website >>> Juan's instagram >>> AVENUE magazine >>> read more interviews >>> CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. THE RHYTHM OF MY PHOTOGRAPHY Mena Sambiasi is not afraid to try new things, living in the moment, finding a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. CALL AND RESPONSE Three women have found a symbiotic relationship, creating pictorial conversations through the device of triptychs. PHOTOGRAPHY AND REALITY In her project BODY NO BODY, Ypatia Kornarou draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. COLOURS SUSPENDED IN TIME. GEOMETRIES OF AN ISLAND Alessandro Giugni shares the secrets behind the colors in his bright and colorful reportage of the Island of Burano. NOT FULLY VISIBLE Nsiries allows himself through his photography to create and visualise a bridge that connects his very hidden innerself with the real world. THE CURIOSITY GAP Samuel Ioannidis is a photographer who searches for beauty through light, color, and lines, communicating his story and generating a curiosity gap for the viewer. SOHO SHADOWS Using layers and reflection, shadows and light in his photography, Darren Sacks wants to show the frequently photographed Soho in a slightly different way. THE STREET LAMP Fabio Catanzaro focuses on the street lamp, predominant in the viewpoint, where its aesthetics outweighs its utility. ON THE STREETS OF SAN FRANCISCO As the fog rolls in off the bay, photographer Stephen Laszlo may be found walking the streets in his beloved San Francisco with Leica in hand and a sharp eye out for slices of life. WELCOME TO STREET LIFE Street Life is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St. and Mark Davidson. SOHO SMALL HOURS Laine Mullally placed herself in the midst of moments rich in emotion as she wandered around in Soho at night. GOTHAM MEMORIES: NEW YORK CITY (1969-2022) Wandering the streets with his cameras, urban observer Jeff Rothstein has been photographing New York City since the dawn of the 1970s. ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. NOSTALGIA In her own words Monika K. Adler tells a poetic and emotional story of an immigrant's remembrance of a life disrupted by war. SIMULATION THEORY Mattia Bullo seeks to explore a very particular and curious feeling: the feeling of slowly losing touch with reality.

INTERVIEW December 21, 2022 WELCOME TO STREET LIFE ​ Introduction by Karen Ghostlaw Pomarico Interview by Melanie Meggs STREET LIFE is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St (aka Giant_Evertonian) and Mark Davidson. Together they share the passion for street photography, and have a comradery and chemistry that makes for interesting discussions with street photographers in the industry. They share their thoughts and opinions on a diverse range of topics as well as engage with well respected professionals in the industry, while highlighting some inspirational less known street photographers making their mark in the field today. Each artist is different, giving them great material for asking brilliant questions that create meaningful dialogue, that one can learn from and apply to how they may approach their own work. With a casual feel, their quick wit and charm make the exchanges with their guests not only informative, but delightful and easy to listen to. Both John and Mark are Australian based photographers, but reside in different cities along the southern coast of Australia. About a day's drive between them. What started off as mutual respect for each other's work on Instagram, eventually turned into a meet and greet in John’s city of Adelaide, where they inspired each other's work on the street, and where the interactive personal exchanges became a unique and comfortable dialogue between them, and where the magic of their chemistry began. Much of their work together is done online, giving them the ability to give this project the attention it deserves and requires. They started this endeavour with no expectations, and only short term goals, that have already surpassed the initial targets they’d loosely set at the beginning of the project. The street photography community has embraced their podcast series, finding it to check a lot of the boxes they felt were missing in the photographic podcast community. Tune in to their interview below and find out more about what is making this podcast so successful. “We get lots of comments about how well we compliment each other and our on air ‘chemistry’. I'm not really sure where our chemistry comes from to be honest. I guess we have a similar sense of humour, beliefs and our moral compass points in a similar direction which all go to make a solid foundation. I believe you cross paths with particular people at different stages in your life. You never really know how long they'll stay 1, 2-3 years or lifetime friends. Maybe the cosmos arranged for Mark and I to cross paths. Jesus, I sound like I'm on an Oprah show!” IN CONVERSATION WITH THE CREATORS BEHIND THE STREETLIFE PODCAST: JOHN ST. & MARK J. DAVIDSON THE PICTORIAL LIST: Hello John and Mark, firstly congratulations on the podcast! Please start off by introducing the StreetLife Podcast to us. What is it about? JOHN ST: StreetLife is a podcast on all things street photography. It’s a casual, pub-like chat where we have conversations with inspiring, creative and influential photographers from around the world. We also sprinkle in a few episodes where Mark and myself share our thoughts or opinions on particular topics on the genre street photography. MARK DAVIDSON: We felt there was a gap in the photography world for a podcast dedicated to street photography; there are a number of podcasts on photography more broadly - fashion, adventure, portrait, gear etc - but none that focused solely on street photography and we wanted to be having those conversations. We have loved hearing from street photographers about their work and what makes them tick. TPL: Tell us something about yourselves. How did you both first become interested in street photography and what keeps you drawn to it? Personally, what experience do you bring to the podcast? JS: I fell into street photography when I was forced to get a 'smart' phone for a new role at work. With that phone came a camera so I started to take pics of myself and my dog on our early morning runs as well as images of coffee (another love affair of mine) as I’d write coffee shop reviews. I then progressed into taking pics of the architecture and buildings in my home city of Adelaide which led to some frustration as people would walk into my shots! So, I thought I’d be clever and try and work those people into my shots not realising that this could be considered street/urban photography. My journey into street photography was complete when I stumbled across a Sean Tucker video when trying to learn how to make my terrible images look marginally better using apps. It was watching lots of Sean’s videos that made me take the plunge into buying a real camera. I’ve been shooting different cities around Australia for almost 4 years now. I guess I’ve stuck with street photography because it allows me to be present in the moment neither worrying about the future nor concerning myself about the past. As for what I bring to the show? Ummm…a witty charm that keeps you engaged instead of yawning and falling asleep at the wheel? I’m thinking the people listening would be able to answer that question better than myself. MD: In my day job I’m a breakfast radio producer, so from a technical standpoint I brought that experience to the podcast. As far as street photography is concerned, I still consider myself a work in progress, a novice. I have been shooting on the street for roughly three years, with COVID interrupting most of that. I’m very much still learning the craft. But I don’t feel that lack of longevity is an issue being a co-host of a street photography podcast. Each episode is very much about our guests and their journey, not so much about myself. John and I have opinions on street photography and we very much want these conversations to be relaxed chats rather than intensive interviews. But at the same time want the spotlight to be firmly on the guest. TPL: What do you hope the podcast is able to address, and what topics are you interested in pursuing? What position would you like for the podcast to occupy in this large world of photography? JS: Street podcast world domination of course! So be sure to tell your friends! Yeah, narrrr...I just want to be a conduit that gives old and new street togs out there the opportunity to listen and learn from the people we have on the show. We’ve been incredibly lucky to have spoken to some pretty heavy-hitters and some not so well known but no less talented shooters. Maybe listening to the stories about their journey will inspire our listeners to grow further themselves or perhaps stick with the genre when things aren’t going so well. The ultimate goal is to remain relevant, fun, humorous, interesting and as informative as possible and hopefully this recipe will encourage our audience to grow. MD: To be the greatest street photography podcast in the world, of course! Joking aside, I’d hope the podcast is a resource for people getting into street, as well as a forum for passionate street photographers to learn from some of the current greats of the industry. We’ve been very fortunate to have some world-class photographers on the podcast already. And I’d also like the podcast to be a vehicle for up-and-comers to get their work out there and to chat about their love of street photography. © Jesse Marlow BEHIND THE SCENES: Interview with Jesse Marlow © Julia Coddington BEHIND THE SCENES: Interview with Julia Coddington © Daniel Dunlop BEHIND THE SCENES: Interview with Daniel Dunlop © Betty Goh BEHIND THE SCENES: Interview with Betty Goh © Knox Bertie BEHIND THE SCENES: Interview with Knox Bertie © Prithi Dey BEHIND THE SCENES: Interview with Prithi Dey © Sean Tucker BEHIND THE SCENES: Interview with Sean Tucker TPL: Has working on the podcast so far, changed how you view street photography. If so, how? JS: I would say it would be that you need to have a purpose for doing what you’re doing. I always appreciate listening to other people’s opinions and thoughts (even those that are different to my own) on the often polarising genre that is street photography. MD: In a sense it probably has. We recently had a chat with Jesse Marlow and I was interested to hear him talk about the length of time it takes for him to finish a project. It was a good reminder that there’s no rush. It’s important to take your time. Shoot for the love of it. TPL: So far, what is the most enjoyable and fulfilling aspect of being a host of a podcast? JS: Having the opportunity to speak to so many photographers from around the world and then sharing that with others. The biggest reward is the feedback from people who took the time to listen to the podcasts and letting us know how much they’ve enjoyed listening to them. It’s very much appreciated so thanks everyone. MD: As I mentioned earlier, the access we’ve been getting has far been astonishing! It has definitely exceeded my expectations. It’s been a pure joy to have spoken to some of the world-beating photographers we’ve had on the podcast thus far, people I have long admired. Also the fact that it seems to have resonated with the photographers who listen. John and I have had incredible feedback so far. I feel lucky to be doing this. TPL: Street photography is a very complex genre, so in some sense there are many views on what street photography is. What catches your eye among the flood of images that are on offer? What kind of image is groundbreaking for you these days? JS: I like and appreciate all the different styles of street photography. I’m drawn to images that make me look and see the world differently than I, myself may see it. MD: I like something that challenges me or hits me in the guts when I’m scrolling through Instagram. I get excited when I see a photo and I don’t know how the photographer got the shot. I’d never want to impose my views or preferences of street photography on others - people can shoot whatever they like - but I do have an unapologetic bias towards candid, undoctored photography. The podcast is a resource for people getting into street, as well as a forum for passionate street photographers to learn from some of the current greats of the industry. TPL: Recently you mentioned on the podcast that you were told by a photographer that “all the good photos have already been taken”. You both disagreed with this photographer’s comment. Why? JS: I couldn’t disagree more with that somewhat cynical comment/statement. There are still future moments that have yet to be captured. None of us know whether those moments will be better or worse than those previously captured and we never will be if we aren’t there to freeze and capture time with the press of our shutter button. MD: I agree that stylistically there is a lot of repetition in street photography but I have to disagree with the notion that every good photo has already been taken. Of course that’s not true. Society is constantly changing and street photographers are going to continually document the world and way we live in it. If someone had made that statement 15 years ago, think of all the things that would never have been photographed. The iPhone for one! TPL: What photographer has made the most impact on you and that you would like to interview for the podcast? JS: Garry Winogrand, Gordon Parks and Saul Leiter. Going to be a little tricky getting any of them to agree to join us on a podcast as they’re unfortunately no longer with us. I’d really love to speak to Trent Parke, Alex Webb or Tatsuo Suzuki. MD: I’d love to interview Joel Meyerwitz and Trent Parke. I don’t think Trent does many interviews these days, so that might be tricky. Speak to Joel would be an immense privilege. TPL: Where do you discover the photographers that you want to interview? If someone wants to be on your podcast, how do they submit? What can photographers do to stand out from the crowd? JS: We started with a list of people that both Mark and I admire and love. People we interview will often bring up names of photographers that neither of us were aware of and they will get added to the list too! I’m always flicking Mark links to photographer’s accounts I’ve come across over Instagram. MD: Before we started we had a list. We’re still working our way through that list and to our wonderful surprise we’ve had around a 95% hit rate so far! We’re always on the lookout for new and exciting photographers. Hit us up with a DM or send an email to podcast.streetlife@gmail.com © Oscar Wollsten BEHIND THE SCENES: Interview with Oscar Wollsten © Hugh Rawson BEHIND THE SCENES: Interview with Hugh Rawson © B Jane Levine BEHIND THE SCENES: Interview with B Jane Levine © Gustavo Minas BEHIND THE SCENES: Interview with Gustavo Minas © Tom Baumgaertel BEHIND THE SCENES: Interview with Tom Baumgaertel © Alex Munoz BEHIND THE SCENES: Interview with Alex Munoz © Nico Froelich BEHIND THE SCENES: Interview with Nico Froelich TPL: Do you ever feel nervous before/during a podcast? If so, what do you do to overcome any fears? What would you say to someone who wants to aspire to start a podcast? JS: You’re always a little nervous as you don’t really know the personality of the person you’re going to be talking to and they don’t know us either! MD: I find gin and tonic helps! Any nerves that either John and I have are quickly dispelled once we start the conversation. Every one we’ve spoken to has been so lovely and generous with their time. We’ve not had any awkward or tricky moments so far! TPL: Finally, what are some of your goals for the Streetlife Podcast? Where do you hope to see yourselves in five years? JS: Wow! 5 years is a long way down the line. I really hope the podcast continues to be enjoyed but most of all continue to be relevant to street photographers everywhere which then hopefully manifests itself into more people tuning in. As for advice on starting a podcast? Ummm JUST DO IT! MD: I said to John my goal is to record 50 episodes. He nearly spat out his Cornflakes when I told him that! We’re getting close to halfway there so I think that’s a realistic goal. In truth, I don’t have an end point in mind. I just know so many podcasts run out of steam after a few episodes. That hasn’t been the case with us. I think our conversations have become easier and improved as we’ve gone along. I’d love to be doing this for many years to come! I’m having a blast doing it now. It’s been incredibly rewarding. Let’s hope Street Life is kicking goals in five year’s time! ​ ​ Together both, John and Mark saw the need for a platform that would create discussions around street photography. They have worked hard cultivating a fine diverse group of street photographers to support their mission and inspire other like minded individuals out there in the industry. If you have not listened to their Podcast, give it a go, you will not be disappointed! Be careful, you may binge listen, don’t say we didn’t warn you! LISTEN TO STREETLIFE Read an interview with John >>> Read an interview with Mark >>> John's Instagram >>> Mark's Instagram >>> read more interviews >>> CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. THE RHYTHM OF MY PHOTOGRAPHY Mena Sambiasi is not afraid to try new things, living in the moment, finding a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. CALL AND RESPONSE Three women have found a symbiotic relationship, creating pictorial conversations through the device of triptychs. PHOTOGRAPHY AND REALITY In her project BODY NO BODY, Ypatia Kornarou draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. COLOURS SUSPENDED IN TIME. GEOMETRIES OF AN ISLAND Alessandro Giugni shares the secrets behind the colors in his bright and colorful reportage of the Island of Burano. NOT FULLY VISIBLE Nsiries allows himself through his photography to create and visualise a bridge that connects his very hidden innerself with the real world. THE CURIOSITY GAP Samuel Ioannidis is a photographer who searches for beauty through light, color, and lines, communicating his story and generating a curiosity gap for the viewer. SOHO SHADOWS Using layers and reflection, shadows and light in his photography, Darren Sacks wants to show the frequently photographed Soho in a slightly different way. THE STREET LAMP Fabio Catanzaro focuses on the street lamp, predominant in the viewpoint, where its aesthetics outweighs its utility. ON THE STREETS OF SAN FRANCISCO As the fog rolls in off the bay, photographer Stephen Laszlo may be found walking the streets in his beloved San Francisco with Leica in hand and a sharp eye out for slices of life. WELCOME TO STREET LIFE Street Life is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St. and Mark Davidson. SOHO SMALL HOURS Laine Mullally placed herself in the midst of moments rich in emotion as she wandered around in Soho at night. GOTHAM MEMORIES: NEW YORK CITY (1969-2022) Wandering the streets with his cameras, urban observer Jeff Rothstein has been photographing New York City since the dawn of the 1970s. ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. NOSTALGIA In her own words Monika K. Adler tells a poetic and emotional story of an immigrant's remembrance of a life disrupted by war. SIMULATION THEORY Mattia Bullo seeks to explore a very particular and curious feeling: the feeling of slowly losing touch with reality.