Street Photography Magazine Podcast

Watch on YouTube Photographer Nathaniel Paolinelli has a knack for ending up in interesting places. He’s photographed lowrider culture in his hometown of Albuquerque and halfway around the world in Thailand. He’s spent time with cowboys, bikers and people living along the U.S.-Mexico border. He’s been welcomed into homes for family holidays, photographed a motorcycle club funeral and, somewhere along the way, even managed to reunite a man fresh out of prison with his high school girlfriend after taking his portrait. Which is funny, because photography wasn’t even part of the original plan. Nathaniel picked up a camera in his 30s. It was an office Nikon, which accompanied Nathaniel (along with its instruction manual) on a trip to Mexico. From there, photography gradually became a much bigger part of his life. In this episode of the Street Photography Magazine Podcast, Bob and I talk with Nathaniel about where that camera has taken him since. A big part of the conversation centers on documentary and street photography in Albuquerque, the city Nathaniel has called home his entire life. Early on, he thought interesting photographs required traveling somewhere else. Eventually, he realized how much there was to explore right where he lived. That realization led him deep into Albuquerque’s lowrider community. What began with showing up, talking to people and making photographs slowly became something more. Today, Nathaniel says he doesn’t really feel like an outsider documenting the community anymore. He has become part of it in his own way. That experience also led Nathaniel to an unexpected book deal. On a whim, he spent three days making a small lowrider zine called Seventh and Central. Somehow, a copy found its way to the University of New Mexico Press. A phone call followed, then a meeting, then a publishing contract. This March, Seventh and Central: Lowiders became a full-length book about New Mexico lowrider culture. “The power of a zine,” as we decided during the conversation. We also get into Nathaniel’s trip to Thailand, where he sought out the country’s lowrider scene and discovered that a shared culture could bridge a pretty substantial language barrier. With translation apps, hand gestures and a camera, he found himself welcomed into a community thousands of miles from Albuquerque. There are plenty of other detours along the way in this conversation, some of which it would have been nice to spend a little more time on: getting caught in an earthquake, being confronted by the military while photographing near Juárez, whether social media is worth the effort, why (if?) Nathaniel owns too many cameras, and the Leica Q2 that got its sensor damaged by a laser. RIP. More than anything, though, this is a conversation with someone who genuinely enjoys going places, meeting people and seeing what happens next. A Selection of Nathaniel’s Photos Links from the show Nathaniel’s Website Nathaniel on Instagram Seventh & Central: Lowriders

Photographers Wayne Campbell and Wayne Crichlow join Bob Patterson and Ashley Riffo to talk about their new collaborative photo book, Carnival of Resistance, documenting the culture, history, joy and defiance of London's Notting Hill Carnival.

Watch The Video on YouTube Each year, we publish hundreds of street and documentary photographs in Street Photography Magazine. Some hit right away. Others stick with us long after we’ve closed the issue. In this episode, Ashley and I look back at 2025 and share 10 images (plus a few others) we keep coming back to. These are a few of the photographs that held our attention, raised questions, or felt worth spending more time with. Below, you’ll find each image with our thoughts on what drew us to it, along with the full audio conversation. Ashley’s Selections France Leclerc Untitled This photo is immediately surprising (unless you deal in camels probably). But what I love is the tension in this photo. Don’t anybody psychoanalyze me, but it reminds me of an ugly divorce, two men fighting, a camel, distressed dangling in the middle, other camels nearby gawking. It’s tense, but the camels make it almost comical. From France Leclerc – Staying for the Story Pat Callahan “Lost in the Moment” This is a beautiful moment but it’s made so much more beautiful by the composition and the sets of three. J’adore.From At Home Everywhere with Pat Callahan Billy Dinh Untitled So many of Billy’s photos leave me slack jawed, thinking “how did he even see that?” This is one of them. It’s like the magic of street photography wrapped up into a single image. Things familiar, things unfamiliar, gorgeous light, and PERFECT timing. From Conjured Off a Canvas Brad Jones “The Vacation Effect” Seriously. Who can turn a Whataburger into a renaissance art? Brad Jones can.From Brad Jones: Unlimited Good Pictures Andrew Stark “Eddy Avenue Central This photo takes that “multiple layers” approach we see a lot in street photography and makes it better. Not only are the subjects layered well, there’s just so many emotions going on here. Amazing capture. I really admire Andrew’s observation skills. He’s super skilled at seeing emotions and capturing them at just the right second. From Stark Reality: The Second Coming Dean Hinnant Untitled I talked about this one on The Crit House, but besides it being a lovely photo, I love the way Dean captures his adolescent siblings in the presence of his father, with his dad always in the periphery – you never see his face, but he’s often there on the edges. It’s that moment in life where you’re aching for independence, planning out your life without your parents, but you still desperately need them, in a picture. You don’t see this phase of life documented through photography very often, which I think makes it super valuable. From Dean Hinnant: Seeing the World Wide Open Michael O. Snyder Untitled This is just so weird. And I love weird stuff. It’s a photo of the remains of Presidents Park, where forty-two monumental busts of the nation’s presidents were constructed to draw in tourists visiting nearby Colonial Williamsburg. The park didn’t work out and the busts have been dumped in a field and left to decay. It’s weird but it’s so easy to find metaphors for government and society in these photos. That makes it more meaningful than just snapshots of a random oddity. From Placing Bets on Mosquitos Bob’s Selections Dean Hinnant “Victoria” Although this is actually a documentary photo, I chose it due to the intimate story Dean tells us about his youngest sibling, Victoria as he makes a candid image of her having a quiet moment in her bedroom. The warm tones reveal a feeling of closeness between the siblings while the multiple mirror reflections pull the viewer deeper into the frame to reveal her melancholy mood.From Dean Hinnant: Seeing the World Wide Open Alaya “Diagonal” I’m attracted by the shapes, particularly triangles. I also like that it is not a typical “street” image. The combination of shapes creates an abstract whole. Alaya has arranged the elements so the compositional relationships become more important than the literal subject matter. The image functions almost like an abstract painting that happens to use real-world elements.From Street Shooters of August 2025 Pat Callahan “The Pilgrimage” Pat Callahan made this photo with his iPhone which brings to mind the work of Henri Cartier-Bresson.The parallel diagonal lines of the bannisters create a sense of depth and movement, which pulls the eye down and around the corner where to the nuns. From At Home Everywhere with Pat Callahan Hillary Greene-Pae  “Little Joe Mclerran and Family at the Cat Head, Clarksdale, Mississippi” I was first drawn in by the image of the father watching over his son stretching his small fingers to make a difficult cord as his daughter dances to the music. Hillary’s choice of a slow shutter speed perfectly captures the motion of the girl’s dress. Then while spending more time in the image I noticed the painting of the singer above the group in the background as if he’s part of the performance. This scene of a family doing something they love together made me wish I was there.From Street Shooters of September 2025 Larry Veltman “Through the Plastic Curtain” At first I almost passed on this photo due to the foggy nature of the plastic curtain. Then, after pausing for a closer look I was drawn in by the impressionistic texture created by the semi-opaque curtain. The Sticky Fingers logo from the Rolling Stones album in the upper left hand corner of the frame gives to overall image balance that would not exist in its absence. The muted tones mirror the sense of peace of the resting man in the center of the frame.From Street Shooters of September 2025