Street Photography Magazine Podcast

In this episode of the Street Photography Magazine Podcast, Bob Patterson and Ashley Riffo sit down with the photographers behind Three Cities Photography: Christer Björkman (Sweden), Jane Dee (Scotland), and Kitty de Jong (Netherlands). They told us how what started as a conversation during a Peter Turnley workshop in Paris grew into a years-long creative collaboration spanning books, zines, newspapers, countries, and countless photography discussions.

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

France Leclerc is a former professor turned full-time photographer based in Chicago, originally from Montreal. Her work centers on what she calls “life photography,” capturing authentic moments during her extensive travels across Asia, Africa, and beyond. Featured in the December issue of Street Photography Magazine, France brings a unique perspective shaped by years of teaching and a deep commitment to cultural understanding. The Secret of Patience For France, travel and photography are inseparable. What began as a way to share experiences from distant places has evolved into a practice of storytelling through images. But her real mastery lies not in the destinations she visits—it’s in her ability to become part of the scenery, earning trust and capturing genuine moments that most photographers never see. France’s approach to photographing strangers in public spaces is refreshingly simple: she waits. “I try to stay there for as long as I can,” she explains. “They either accept you or not. But I stay, and I stay, and I stay. So then they get fed up. They stop seeing me or they stop behaving as what they think I’m there for, and they just go back to their life. And that’s when my work starts.” This patience allows her to move past the performative smiles and staged moments. By remaining present until people forget about her camera, France captures something rare—the natural rhythms of daily life. “I wait for them to be doing their natural thing,” she says. “I become part of the background.” Lessons for Street Photographers First, abandon the quick shot mentality. France’s willingness to invest time in a single location yields photographs with genuine emotion and unguarded expressions. Second, approach your subjects with humility. As she notes in her essay “Devotion in Motion,” blending in requires setting aside ego and truly respecting the communities you photograph. Third, trust your emotional response when editing. France selects images based on what makes her heart go “boom”—a reminder that technical perfection matters less than authentic connection. France’s work seeks to reveal our common humanity. As she puts it, “We’re all the same. We all want a decent life for our family and our community, and that’s what we should be focusing on.” Links from the show France’s Website Instagram Facebook

Hillary Greene-Pae is a clinical social worker, real estate investor, and accomplished photographer based in Calabasas, California. Her work spans multiple genres, but it’s her street photography that has captured attention for its emotional depth and unique perspective. As the featured photographer in the November 2025 issue of Street Photography Magazine, Hillary brings a distinctive approach to capturing life up close. Hillary stands apart in the crowded world of street photography through her ability to see people not just as subjects, but as storytellers. “I’m always looking for how do I see the people, what are they sharing, telling me,” she explains. “So I’m always trying to take it from their perspective.” This empathetic approach stems from her work as a clinical social worker, where understanding people within their cultural context is essential. Her photography is defined by her willingness to get close—both physically and emotionally. She shoots wide and from interesting angles, often capturing intimate moments from just feet away. While she prefers candid shots, she frequently engages with her subjects afterward. “I’ll go up and just say I’ve taken your picture or would you like me to send this to you?” she notes, adding that about half the time, she approaches people directly. Her philosophy is simple but powerful: “It’s always about telling a story for me.” This narrative drive, combined with her therapist’s instinct for human connection, allows Hillary to transform familiar scenes—skate parks in Venice, buses filled with passengers—into emotionally resonant images that reveal something deeper about the human experience. Hillary’s street photography becomes less about capturing moments and more about honoring the dignity and complexity of every person she photographs. Links From the Show Hillary’s website Instagram

I’d like to tell you about someone who’s become both a friend and a photographer I admire. His name is Pat Callahan, and he’s our featured photographer in the October 2025 issue of Street Photography Magazine. Here’s the funny thing about how we met: I’d known Pat for over two years at our gym here in Charlottesville, Virginia. We’d play pickleball together, exchange pleasantries, the usual gym-friend routine. Then one day while waiting for a game to start, we had a casual conversation and he asked what I did for a living. When I told him about Street Photography Magazine, he said, “I do street photography.” I was floored. Later, I saw some of his work on Instagram and realized this guy is the real deal—a genuine talent hiding in plain sight on the pickleball court. What strikes me most about Pat’s work is the joy in it. When I look at his photographs, two words come to mind: Life Magazine. There’s something about his images that captures everyday people in everyday scenes, yet reveals something extraordinary. His approach reminds me of the photojournalism that made me fall in love with photography as a kid. Pat himself is a joyful, friendly guy, and that spirit shines through in his work. Pat’s journey into street photography took a serious turn when his wife Julie was assigned to work in Bratislava, Slovakia. As he puts it, “I realized it’s what I really like and it’s what other people like.” That realization led to his first exhibition at a cafe in 2015. This past year, he had another exhibition at the historic Albrecht House in Bratislava—a full-circle moment celebrating French culture through his street photography work from Paris, where he maintains an apartment. Albrecht House Exhibition, Bratislava Slovakia – Winter 2025 What I appreciate about Pat is his democratic view of equipment. He’ll show you images and challenge you to guess which were shot with a camera and which with his phone. “It doesn’t matter,” he says with a grin. What matters is being ready, keeping your heart and eyes open, and recognizing those fleeting moments that tell a human story. His work has been published internationally, and he continues to travel between Charlottesville, Michigan, Paris, and destinations around the world, always with a camera in hand. Today we’re going to talk about his approach to street photography, his recent exhibition, and what drives him to capture the working-class neighborhoods and everyday moments that most of us walk past without noticing. So have a listen to my conversation with Pat Callahan—world traveler, street photographer, and one of the most genuinely enthusiastic people you’ll ever meet. Links from the show Pat’s Website Facebook Instagram John G. Morris – Legendary Life Magazine Photo Editor Peter Turnley David Turnley The Albrecht House Bratislava Slovakia

Today I’m joined Garrett Strang, an American photographer who has made Paris his creative home. Garrett’s journey from documentary filmmaker in Washington D.C. to street photographer in Paris is one of creative evolution and bold reinvention. For 20 years, he created documentaries on health issues, population studies, and social conflicts, where he developed an eye for human emotion and storytelling that would later drive his photographic work. His transition to photography began with a series called “America on the Edge” during the 2016 election cycle, where he captured the tension and uncertainty in people’s faces using unconventional framing techniques. This work sparked his passion for street photography and ultimately led him to abandon commercial photography entirely when he moved to Paris. Now living in Versailles with his partner, Garrett spends his days walking the streets of Paris, capturing candid moments on the metro and throughout the city. His work has been featured in Street Photography Magazine, and he recently published his first photo book. Paris a coeur ouvert Paris in the Raw. Today we discuss his techniques for shooting in challenging environments, his approach to connecting with subjects, and the creative risks that drive his photography. Links from the show Garrett’s Website Paris a coeur ouvert Paris in the Raw – Garrett’s new book Instagram A selection of photos from Paris a coeur ouvert Paris in the Raw

This week we’re joined by our friend Virginia Hines. She’s a photographer and former publishing industry professional who has traveled extensively to document street life around the world and learn from masters of the genre. She wrote the foreword to Street Photography Magazine’s book “Where the Streets Lead” and has been featured multiple times in our podcast and magazine, sharing her insights into street photography. And she is a frequent contributor to Street Photography Magazine. Fresh off circling the globe in just a few weeks, Virginia joins Ashley and me to share stories from her whirlwind journey that took her from San Francisco to multiple cities across China, then to Photo London, and back home again. I really enjoyed Virginia’s observation of how China has changed since her last visit before COVID. “Nobody uses cash anymore,” she told us, explaining how even the smallest purchases now require a phone payment system. But beyond the technological shifts, she noticed something deeper: “People seem to be a little more laid back, having a little more fun, maybe saying, you know, let’s just enjoy friends and family and the good things in life.” Virginia describes the performative nature of modern Chinese society, with TikTok videos being filmed everywhere and elaborate costume play in public parks. She also shares fascinating insights about Beijing’s hutongs, traditional housing areas, where she spent time photographing, meeting residents living in conditions that tell stories of China’s urban evolution. Street photography isn’t just about locations. It’s about the stories and encounters along the way. Virginia told us how her limited Chinese language skills sometimes led to spontaneous photo opportunities. People, startled by a foreign photographer, often agreed to be photographed before they could decline. One humorous incident involved a woman in a pink coat and inflatable wings. Virginia photographed her, and days later, in a different part of town, the woman approached her, asking for the picture. The story took an even stranger turn when Virginia showed the photo to a Chinese friend back in San Francisco who showed it to her mother who recognized the woman. This created a small-world connection in a country of over a billion people. Virginia’s stories remind us why travel photography isn’t just about capturing pretty pictures—it’s about documenting cultural shifts, human connections, and the unexpected moments that make each trip an unforgettable experience. Links from the show Virginia’s Website Instagram Photo London Virginia’s articles in Street Photography Magazine