The Heart of the City by Gregory Rogalsky
I met this girl along with two men in a local alley.*
I believe the article should focus on the challenges faced by the homeless and address the negative reactions and criticism individuals may encounter when taking photographs of their own city and its residents. I have often been told that it is disrespectful to photograph someone on the street with a telephoto lens. However, I have been shooting street photography with long lenses since the 80s, using various types of cameras. I've always approached shooting street as a photo essay and used multiple cameras with different lenses. Street photography is great because it can be done with any camera. All you need is a camera and confidence. It's important to acknowledge that people may get upset when being photographed on the street, even if they are not the intended subject. It's also worth noting that individuals, known as "triggered individuals," can be quite dangerous, whether encountered on the street or online.
I've had situations where I'm taking photos of someone on the street or talking to them, and then a third party comes along and starts interfering. These individuals, also known as "triggered individuals," can be quite dangerous, whether you encounter them on the street or online. I've read online articles discussing the ethics of street photography. Is it ethical to take photos in a public place? The truth is, not every photo you take will be a beautiful one. When you're in the moment, trying to focus, get the right exposure, and frame the shot, it's already challenging enough. If your aim is to capture meaningful or graphic images, hesitation can be detrimental.
Having been homeless and struggled with drug addiction, I can relate to the experiences of the people I photograph. Mainstream media often overlooks the challenges faced by homeless individuals, drug addiction, and mental health issues. It's crucial to remember that the person on the sidewalk is someone's son, with a past not so different from the rest of us. Before judging others, it's important to consider how quickly someone's life can change. Anyone can face challenges that lead to homelessness or drug addiction. There is a connection between the stress many people face, the availability of drugs, both street drugs and pharmaceuticals, and the resulting public health issues. Documenting the things I see on the street and publishing those images is an important link in the chain of understanding the severity of these issues. It's essential to bring attention to drug overdosing, mental health issues, and homelessness as the biggest public health issues we face in the western world.
Looking at these photos, it struck me that you don't see many of these people around anymore. I'd like to believe that they got clean and left the streets, or maybe they simply moved on. The sad reality is that many of them have passed away due to addiction, violence, or exposure.
Calgary Street Photography Taken with Nikkor 35 F2.0 AIS on Nikon D4. I met this girl along with two men in a local alley. I had photographed one of the guys before, and we started out having a nice little chat after they all agreed that I wasn’t a cop. We were discussing drug addiction , homelessness and the lack of public bathrooms and places to wash as showers. It was clear we were on the same page. Then, I told them that I was sharing these images on Facebook, on my personal page, and with this group. They wanted me to express to you guys that they are happy that someone actually gives two fucks about them and the issue they are facing. Just then, a guy came up, and I could tell from how he was walking was trouble. Spider sense was just a ringing. As he approached me from the rear and got closer, I backpedalled and circled to the left, and he started yelling at me, demanding to know why I was hassling these people. Before I could say anything, the gut that I had photographed before waded in and said.." No, No, he is cool. We know him. he isn't hassling us". But this clown was not satisfied with this and continued to advance on me.. yada, yada yada. I ended up walking way. Kind of disappointed I wasn't able to spend more time with these guys. I was struck by how young this girl was and really wanted to know her story. The guy who came up to me in a threatening manner that I had to deal with in this interaction reminds me of many of the negative commenters on the group. Both of them really don't want me to photograph this sort of content because it offends their idea of social justice. In this case, this guy's interference restricted me from getting more content/photos and more understanding of how this young girl got into this situation and perhaps how she could get out. When I took the pictures, her face was in the shadows, and I really couldn’t see her face/age. Now that I see my photo, I know that she looks really young. What the fuck is she doing on the street smoking meth.?
Calgary Street Photography "The Heart of the City" TM Taken with Canon 50mm f0.95 Dream Lens on Sony A7rii
I took this street photograph in Calgary using a Nikkor 28 1.4 AF-D Aspherical lens on a Nikon D4. The photo was captured behind 7th Ave in Calgary. I encountered a man who was seen fixing his pipe, which appeared to be filled with some kind of white substance, possibly meth or crack. It seemed to be meth as he was using a meth pipe. In the background, you can see Bankers Hall and the colorful paintings in the alley. Unfortunately, the alley has become a public health issue, littered with garbage, urine, and human feces. It's concerning that in the past 10 years, I have never witnessed the police patrolling this alley, despite the open drug use. It's evident that the situation has changed, as individuals openly using drugs in public are no longer being arrested. Downtown seems noticeably empty, and those who are present often prefer using the plus 15 to avoid walking on the streets. I spoke with a local business owner who shared that over the last 2 years, he has lost 80% of his savings while keeping his restaurant open. He mentioned that his customers are reluctant to visit downtown due to the unpleasant environment. I've also noticed that the condition of the drug addicts is deteriorating, and they are becoming increasingly younger. It's heartbreaking to witness the impact of this poison on a generation of young people. Unfortunately, deaths due to overdosing occur frequently in this area, as well as in homes. I stayed long enough to ensure that the man I encountered was not in danger of overdosing, and then continued on my way. I recently shared a telephoto shot taken with a Nikkor 300 2.8 IF-ED AI-s lens in this group, along with a closer shot using the Nikkor 28 1.4 AF-D Aspherical lens. I noticed that the comments on the previous post have been closed by the moderator, and I'm unsure why. I value and welcome all comments and hope that the moderators will allow the conversation to continue. Regarding the lens, I'm experiencing an issue where I am unable to adjust the aperture, and it remains stuck at f1.4. Additionally, the front element has sustained a couple of deep scratches as a result of an attack while I was walking to the train. I'm considering purchasing another copy, which would be my third of this lens.
Calgary Street Photography Taken with Nikkor 200 F2.0 IF-ED AIS on Nikon D4 This guy was yelling at people and throwing punches and kicks. He had some nice kicks. I wouldn't want to be on the wrong end of one of them. I think he has had some training some where along the line. I wanted to go over and talk to him, but he was ... acting really violent. And didn't want to risk having to deal with him. Hopefully he might be settled down enough to talk to at some point
It's alway super upsetting to see one who is so young and a female on the street. Begging for money, clearly on drugs. With the exception of a baby, I cant think of any one more vulnerable. Life on the street are hard. Violence and sexual exploitation are a way of life. It is the concrete jungle. It's not only dangerous to be homeless and drug addicted perhaps suffering with mental health issues.But it's also dangerous to be out documenting the life as well. Over the years/decades I have been threatened countless times and attacked with knives and sticks and fist and feet. For me it's just part of street photography. One learns to have the ability to de escalate when ever possible. And if it comes down to it, the ability to defend yourself in a violent situation. And than in court.
I took this street photograph in Calgary using a Canon 50mm f/0.95 Dream Lens on a Sony A7R camera. I was struck by how much this man resembled someone from the old horse-drawn carriages with glass sides. The photo was taken on a Calgary C-train station platform. The homeless situation in Calgary is becoming desperate, as many people refuse to go to shelters at night for various reasons. Being homeless in the bitter cold of a Calgary winter is a public health issue.
I've photographed this man numerous times over the last couple of years. It wasn't until a couple of weeks ago that we began to talk. He was injured at work several years ago and suffered a brain injury, which is how he ended up on the street. He has a social worker, but I don't think they are taking very good care of him. The photo was taken with a Canon 50mm F0.95 lens on a Sony A7rii.
I was doing some street photography in Calgary with my Nikkor 28 1.4 AF-D Aspherical lens on my Nikon D4 when I came across a girl in an alley behind the Trans Canada Highway. After taking a few shots, I checked to see if she was breathing. I woke her up and asked if she was okay, and fortunately, she was. We had a nice chat, and I took some more photos. However, I decided to let this particular photo stand alone for a while. It's shocking that this kind of thing is happening in 2021 in one of the wealthiest countries in Canada.
Calgary Street Photography taken with Nikkor 28 1.4 AF-D Aspherical on Nikon D4. This was strange. I had photographed this guy many times before and had often helped him out. On this day, he came at me with a pipe right in front of the police. Later that day, he threw a rock at me and narrowly missed hitting a woman who was walking in front of me. Not sure what his deal was. I haven't seen him around in some time. Perhaps he is in jail or dead.
I was out doing some street photography in Calgary with my Nikkor 28 1.4 AF-D Aspherical lens on my Nikon D4. I came across a lady outside a budget movie theater asking for spare change. While my girlfriend went inside the theater to use the restroom and warm up, I stayed outside and struck up a conversation with the lady and took a few photos. She was really nice and sweet, and she reminded me of one of my aunts. She mentioned that she and her partner were trying to save up for an RV, but she seemed doubtful about it happening. It was sad to see her feeling so defeated. I gave her some change, and she was very grateful, although it wasn't much. Later, when we were inside the theater, I drank all my diet coke too quickly, and my girlfriend asked me to get another one for her. Instead of buying another drink, I went back outside and gave the remaining change to the lady. It wasn't very cold that night, but it was still heartbreaking to think that she was sleeping outside. It's really upsetting to see this kind of thing happening in one of the wealthiest places on earth. I always make sure to have at least one good camera lens with me whenever I'm out. The Nikkor 28 1.4 AF-D Aspherical lens is perfect for taking environmental street shots because of its fast aperture. I often refer to it as my "conversation lens" because I use it to take pictures of people while chatting with them.
I took this picture in an alley in downtown Calgary. I had a brief conversation with a man and captured a few shots with my Nikon and wide-angle lens. After that, I walked up to the third floor of a parking garage. I'm always cautious in parking garages, as walking up the concrete stairwells can be risky if you encounter someone who might pose a threat. From the third floor of the garage, I looked down into the alley and noticed the man preparing his fentanyl on tin foil. Just as I found a good angle, the man started smoking his drugs. I used my Nikkor 300 2.8 IF-ED AI-s lens on my mirrorless camera to take pictures. Over the years, I have relied on my Nikkor 300 2.8 IF-ED AI-s to capture some of my most meaningful images. In this particular instance, the distance and darkness of the subject made the magnification and speed of the lens essential. It's true that this image has a surveillance element to it, similar to how wildlife photographers use long lenses to capture natural behavior. I also enjoy using a lens like the Nikkor 300 2.8 IF-ED AI-s for street photography. I have used a wide variety of telephoto lenses while shooting street scenes over the years. Sometimes, if I envision a shot with a telephoto lens, I will use it to capture the image. Then, I often switch to a normal or wide lens and engage in a conversation with the person I'm photographing. Some may wonder why I don't ask for permission before taking a photo. I've tried that approach in the past, but it usually results in people posing for the photo, which changes the authenticity of the shot. After taking candid shots, I often capture environmental portraits as well. While some photographers may have ethical concerns about my approach, I believe that everyone has the right to their opinion and to shoot street photography in their own way.
I was out tonight doing some test shots with my new Nikkor 50 F1.2 AI-s lens. I was taking some nighttime photos and feeling really inspired by the shots I was getting. Even though I wasn't feeling great, I decided to keep going instead of heading home. As I widened my circle and headed down the alley, I was focused on shooting old garages and things in the alley. I was about 3 blocks from home when I saw someone had thrown a bag of garbage on the sidewalk in front of the church. As I got closer, I realized that there was a foot sticking out of the bag. I became concerned and walked across the street to take a closer look. As I approached, I saw that it was a person lying on the sidewalk. I tried to flag down a passing cab to get help, but the driver didn't stop and almost ran me over. I quickly took a photo of the person and then went closer to check for signs of life. I couldn't see her breathing, so I tried to wave down another car for help, but they ignored me. I then called out to the woman and tried to wake her up. Finally, she started to stir, and I helped her to her feet. She was shivering, dressed only in a light coat, while I was wearing a jacket. I asked if she had somewhere to go, and she mentioned a place called Alpha House. I pointed her to a nearby cab and told her to go there. I was relieved when she agreed. I said goodnight to her and she thanked me. It's important to note that this incident didn't happen in downtown, but in a nice neighborhood. The issues of drug addiction, homelessness, and mental health affect communities everywhere. I don't want to sound like a hero, but I sincerely believe that if I hadn't come along, she might have been left there. It's getting cold in Calgary, and unless she gets help, I worry about her well-being.
Often you will see homeless people sleeping on the street during the day. The reason for this is multifold. First of they are exhausted. Secondly, sleeping in the day out of the open offers a measure of protection.
This lady died last years of an over dose. We spoke often and she was really street wise I really miss her.
Using street drug is really hard on the body mind soul and the teeth.
Being a witness and documenting these images is not easy.
I still have hope.
When encountering someone on the street struggling with drug addiction, it's natural to feel empathy for them. However, it's important to recognize the potential consequences of their situation. Drug overdose is a serious risk, and it represents a tragic loss of life and potential. Additionally, there are significant costs associated with emergency responses, healthcare treatment, and the impact on society as a whole. In Canada, while healthcare may be publicly funded, it's not truly free, as the expenses are covered by taxpayers. Moreover, individuals grappling with drug addiction are often unable to work, pay taxes, or contribute to the economy in other ways. The economic impact extends to businesses as well, with increased incidents of shoplifting and the potential for workplace accidents due to drug use. In industries like construction, drug and alcohol abuse poses a significant risk to workers' safety and productivity. As a result, drug testing is a standard procedure in the event of a workplace incident.
It's not easy being a witness and documenting these images. I believe we are all put here to do something on this earth. One of the things I think God wanted me to do was street photography. I've never made any money doing it. It's dangerous and really hard on family and personal relationships. Still, I feel a sense of exhilaration when I capture a meaningful photo while out shooting. Most of my work was done on film and is either in prints or still sitting in negatives. I've shot over 300 rolls of film in the last 3 years, some of which have been processed, and much is sitting in Tupperware ice cream buckets waiting to be developed.
I remember taking this street photograph in Calgary using a Nikkor 300 2.8 IF-ED AI-s lens on a Nikon F2as/MD-2 camera with Tri-X film. The light was amazing on that cold fall morning back in the 80s. I ended up capturing almost an entire roll of film of a man walking towards me. Like many of the men I photograph on the street, one day I just stopped noticing him. He was a nice guy. We would always talk about his coat and how much we both loved it.
I have a collection of street photographs taken in historic Calgary with a Nikkor 300 2.8 IF-ED AI-s on a Nikon F2as/MD-2 camera using Tri-X film. I have been a Calgary street photographer for many years, capturing images of the places and people I've encountered. I recently found this page and wanted to share my street photographs with others. I have been taking photos since I was 15 and I am now 59, so I have accumulated a significant collection of images. Many of these images will be featured in a movie project that I am currently working on. One of my favorite images was taken in the 80s outside a downtown liquor store while I was street shooting with a friend. A guy and a few friends came out of the store, and when he saw us, he gave us an iconic laugh. I believe this image captures the essence of Calgary street photography. I would love to hear your thoughts on my work.
Athenry Mart for sheep by Steve Scott
by Steve Scott
I created a photo documentary on the Athenry Mart for sheep to capture more than just the economic transactions—it was about documenting the deeper significance of these gatherings for the farming community. Through my lens, I wanted to show how the mart serves as a hub where farmers come together, exchange not only livestock but also stories, advice, and camaraderie. Farming can be an isolating profession, and these moments of connection are vital for their mental health. The mart becomes a place of support and solidarity, reminding farmers that they’re part of a broader community.
The Gajan festival by Kausik Paul
The Gajan festival
by Kausik Paul
Charak Puja venerates Shiva and Kali, symbolizing rebirth, absolution, and agricultural prosperity. It is observed on Chaitra Sankranti, the final day (April 14) of the Chaitra month, which is succeeded by the Bengali New Year.
During the Gajan festival, which is a week-long celebration starting in the last week of Choitro (the final month of the Bengali calendar) and continuing until the end of the Bengali year, devotees engage in various rituals. In Bardhaman, West Bengal, men dress in traditional outfits worn by Gajan sanyasis (Shiva devotees) to worship Shiva during the festival. Face painting is an important part of the festival, and devotees often have intricate designs painted on their faces, symbolizing spiritual devotion. Preparations for Charak puja, which usually begin a week in advance, involve gathering essential items such as paddy, oil, sugar, salt, and honey from village to village for the ritual. Gajan is celebrated to honour Shiva's union with Harakali, an incarnation of Goddess Parvati, while devotees dress up as mythological characters and perform on the streets, narrating their local folklore.
Featured
Los esquiladores de ovejas by José Ríos
The sheep shearers
by José Ríos
Esta cuadrilla de esquiladores rumanos viaja durante unos tres meses por toda España, de finca en finca quitando la lana a miles de ovejas. Es un trabajo muy duro, se hacen una media de 250 ovejas diarias terminando exhaustos. Esta labor es superbeneficiosa para los animales, se suele hacer todas las primaveras y la oveja se libra de parasitos y bichos de todas las clases evitando que contraigan multiples enfermedades
This team of Romanian shearers travels through Spain for about three months, moving from farm to farm to shear wool from thousands of sheep. It is very demanding work, with an average of 250 sheep sheared daily, leaving the workers exhausted. However, this work is highly beneficial for the animals. It is typically carried out every spring and helps the sheep get rid of various parasites and bugs, which in turn prevents them from contracting multiple diseases.
Featured
WallsOfMilano by Giovanni "Gianfranco" Candida
WallsOfMilano
by Giovanni "Gianfranco" Candida
I've been a Street Art photographer since 2006. My favourite action place is my hometown of Milano, where I feel part of the urban art movement.
Over the years, the name of my FB page, WallsOfMilano, created in 2015, has become my personal nickname, as I’m known by most artists.
My photography has always been "social" photography aimed at telling "marginal" realities.
Urban Art has fascinated me since the beginning because it is a form of art expressed on the street, outside the galleries, and is based on the principle of sharing rather than possession, on creative freedom, on being transgressive, democratic, popular, and ephemeral.
When I started recording the images I saw on the walls, in the streets of Milano, I used to take pictures of finished artworks. I didn't know any artists when I started, I was completely alien to that world!
Over time, as I developed trust and confidence in the artists, I began to focus my attention more on the act of painting itself, trying to convey the emotion of seeing a work of art take shape before my eyes.
I've often been called at night to rush and record some work that would have been, most likely, scratched off in the morning by authorities or by the landlord who owns the spot.
During the last years, my interest has expanded to subjects who, in the same way, are born and grow on the street but who are more in the frame of political initiatives and volunteer activities: not only artists with spray cans and rollers in hand, but also people in economic difficulty, students, social movements, and LGBTQ+ communities to tell the lives, emotions, and stories of those who are committed to building solidarity.
Whilst in the photography of Urban Art the choice of shooting in color was an obligation not to deprive the works of part of their emotional charge, in my new approach to social photography I decided to eliminate colors to focus attention on events and people.
Giovanni Candida is a street art photographer, but by profession, he is a manager in an important multinational company. He was born in 1958 and only became interested in street art in 2006. Wherever he travels, he takes photos of 'walls', but to give coherence to his work as a photographer and collector of street art and writing works, he has decided to focus on the city of Milan, where he lives. His Facebook page www.facebook.com/wallsofmilano is a point of reference for the Milanese street art scene. He has a very patient wife who tolerates the long days he spends with the young artists.
Featured
Shots from the bus: a journey through southern Morocco by Pepe Alvarez-Rogel
Shots from the bus
a journey through southern Morocco by Pepe Álvarez-Rogel
After leaving the narrow, winding roads of the Moroccan High Atlas behind us, we head south along the course of the Draa River (the longest in Morocco), beyond Ouarzazate. As the bus moves on, the students pursuing a master’s degree in biodiversity conservation review their notes, preparing for the discussions that await at each stop—conversations that will delve into land use, environmental impacts, and the future prospects of these remote landscapes. Each day we travel many kilometres to reach the pivotal sites that will be the focus of our exploration. This is no leisurely tourist excursion, where one can pause frequently to snap a photograph. So I sit next to one of the windows at the front of the bus, my camera poised and ready, to capture the fleeting moments that unfold outside as we make the way down the road. As we move towards Zagora through the Draa Valley and further south towards the edge of the Sahara Desert, the landscape becomes more desolate. Vast plains with high mountains as a backdrop, stony soils, and always scarce vegetation cover, offering little shade from the relentless sun.
I keep my eyes on the road because at every moment, despite the desolation, I see something of interest. Scattered across the landscape, ancient casbahs (neighbourhoods of adobe houses) often lie in ruins. Semi-abandoned oases dot the riverbanks, where palm trees, once symbols of wealth and prosperity, are now withered by drought. And people traversing these sun-scorched terrains along the way. Of course, we see some motor vehicles, but my focus is on the people walking or riding donkeys or carts, evoking the rich history of nomadic tribes and the ancient caravan routes that once plied these remote regions. These thriving trade routes facilitated exchanges between Berbers, Africans, Jews and Christians. To visit some of the forgotten villages nestled in the heart of these lands is to embark on a journey back in time.
At last, we reach the Sahara Desert. We find ourselves in the parched Draa riverbed, which here bends westward toward the Atlantic Ocean. The temperature soars above 45°C, and a strong wind whips through the area, stirring up a sandstorm. For hours, we traverse the endless dunes that stretch before us. Even so, a few small herbaceous plants cling to the unstable soil completing their life cycles during the fleeting periods when there is some moisture. Meanwhile, deep-rooted trees, adapted to drawing water from many meters below the surface, persist for years in the barren landscape.
On the sixth day of our journey, we pass through the territory of the Anti-Atlas, a mountain range extending over 500 kilometres southwest to the Atlantic Ocean. The landscape remains arid, with vast plains and imposing mountains in the distance. However, we begin to encounter more cultivated areas, more water, and more human activities. I can't help but wonder if the desert will eventually overtake these places in the coming years, as the effects of climate change grow more severe. And I wonder how the inhabitants here will adapt. After many kilometres, we pass the town of Taroudant and turn south, driving parallel to the Atlantic coast, once again heading into more desert areas near the ruins of Fort Bou-Jerif, a French Foreign Legion fort built in 1935. This marks the final leg of our journey. We are approaching Western Sahara, a former Spanish territory that has been locked in an unresolved conflict between Morocco and the Saharawi people for more than 45 years. It’s a story of injustice that, like so many others, reveals the United Nations as a mere observer, unable to enforce its resolutions. But that is a different story. If you’d like, I’ll share it with you another day.
Featured
Skateboarding by Michel Crapoulet
Skateboarding
by Michel Crapoulet
I captured these photos during a recent urban cultures festival in Saintes, Charente Maritime, on the Atlantic coast – 5 /7 July 2024.
My passion lies in youth and street entertainment, such as skateboarding, BMX, Hip Hop, and graffiti artists. I've been into photography since I was 10, with a particular interest in taking pictures of people in the street and at events. I enjoy interacting with people, and many of them ask me to share the photos I take. In France, street scene photography isn't trendy; birds seem to be the preferred subject. Some photographers tell me they're reluctant to capture street scenes, but it's never been an issue for me. I avoid photographing children, except in certain events like this one. During the festival, the organizers approached me and requested some of my photos, which isn't uncommon. They often express their admiration for my work. I don't have many interesting stories about my experiences. At 76 years old, I believe that my age helps me connect with people.
"Morning people" by Ludovit Graus
Morning People
by Ludovit Graus
Every morning, I embark on street photography journeys to capture the essence of life around me. Through my work, I aim to encapsulate fleeting moments consisting of various situations, gestures, feelings, and facial expressions. I particularly enjoy mornings, as they exude a special and magical mood. During this time, people display a range of emotions and activities such as being sleepy, dreamy, thoughtful, rushing to work, applying makeup, or enjoying a cup of coffee. My photography endeavors take me to cities like Prague, London, Paris, Budapest, and beyond, where I use a Leica Q2 to capture this unique morning atmosphere.
My name is Ludovit Graus, born in 1977, I live in a small village in middle Slovakia. Self-taught, participated in several workshops with inspiring photographers such as Ernestine Ruben, Ovidiu Selaru, etc. I started shooting in 2000, having fleet of wonderful analog old school Nikon's. A years ago I fulfiled my dream and joined group of Q system users.
A Photographic Beginning before Social Media By Fraser Shein
A Photographic Beginning before Social Media
Fraser Shein – Self-portrait with my original Nikon EL2 camera, Toronto, 2024
As a child and teen, I would pore over the pages of Time, Life, and National Geographic magazines, captivated by the images and dreaming of places far beyond my hometown of Hamilton, Canada, a bustling steel town. In 1973, I found myself on the shore of Lake Ontario during a trip to Queen’s University in Kingston, contemplating my future as I entered my final year of high school. My passion for science was clear, with beakers, test tubes, and rockets filling my daydreams. Yet, art had always held a special place in my heart. High school had introduced me to the Great Masters in both painting and photography. While I had been snapping shots with a Kodak Instamatic 110 during family travels, a school friend from Hong Kong lent me his Nikon F camera. Inspired by the magazine images and my studies, I began assembling a photography portfolio for art school.
The dilemma was real as I sat by the lake: should I pursue art college or university for science? My interest in pure sciences had waned, making engineering the next viable option. Ultimately, I chose engineering, reasoning that I could always pursue photography as an engineer, but not vice versa. This choice proved wise, as my engineering career opened doors to photographic opportunities that might have otherwise remained closed.
Four years later, I graduated with a degree in civil engineering, specializing in roads, piles of dirt, and concrete. Despite numerous job opportunities, none piqued my interest, so I applied to graduate school. Throughout university, I devoured photographic magazines but lacked the time and money to practice photography. With my first paycheck from a summer job, I bought the latest Nikon EL2 camera used in the images presented here. I was also fortunate to have access to a darkroom in my student co-op building, allowing me to process my film and B&W prints.
One of my earliest shots that summer was of a farmer holding a stubby beer bottle at my girlfriend’s grandmother’s farm, a photo that remains my all-time favorite and still hangs in my living room. That summer, I roamed town with my camera, capturing whatever caught my eye. Without social media and only a few friends to showcase my work, magazines and newspapers were my main influence.
Returning to Hamilton for biomedical engineering graduate studies, I overcame my introverted self and boldly walked into the McMaster university student newspaper on my first day, announcing my desire to be a staff photographer. They accepted me, and I dedicated 30-40 hours a week on top of my studies to shooting and layout work. While most others focused on student issues, I sought broader stories, photographing visiting scholars and renowned figures like Sir Edmund Hillary, the first person to climb Mount Everest. I captured him windswept on the side of the Hamilton ‘Mountain,’ a 300-foot escarpment. Coincidentally, he frequently visited my research group, which studied exercise and breathing at high altitudes.
That year, I learned to become invisible while shooting and never hesitating to capture a moment. Deadlines were always looming, pushing me to create timely images. Listening to a presentation by Robert Frank, I learned to always be shooting whether I had a camera or not. My confidence as a photographer grew, and I often thought back to the magazines of my childhood, now dreaming of shooting myself for Time, Life, and National Geographic and eventually winning a Pulitzer. While I have yet to achieve these goals, my engineering career has afforded me opportunities to engage in activities worthy of those magazines, allowing me to travel widely and photograph during business trips.
After a year, I moved to Toronto to complete my graduate studies and began working at a children's rehabilitation hospital, a place where I would spend the next 30 years of my career. That first summer, I roamed the streets, capturing everyday moments to document life as I saw it. Experiencing a large city for the first time, street photography felt natural to me. Without the influence of social media and its trends or specialized techniques, my approach remained organic and instinctive. Often, I would sit with strangers and chat before photographing them.
Our hospital's world-renowned status brought many notable figures, providing unique photographic opportunities. I vividly remember photographing the Queen Mother, standing directly in front of her while press photographers, confined behind barricades, yelled at me to move out of their shots.
Drawing from my previous experience, I joined an independent student newspaper at the University of Toronto. I continued my focus on covering events beyond the university, immersing myself in the many protests that were occurring at the time. I learned invaluable lessons from professional news photographers, who taught me how to navigate the chaos and get close in sometimes volatile situations. They also showed me how to collaborate with police to corral protesters for tighter shots or gain access to restricted areas for high shots. And I soon found myself competing with them.
I gained access to photograph notable figures and began documenting stories of my own. In 1980, I had the extraordinary opportunity to photograph the 16th Karmapa, the spiritual leader of the Karma Kagyu lineage of Tibetan Buddhism, who was traveling with the Dalai Lama to Toronto. However, the challenge was that I could only photograph him if I could find him—somewhere on a farm in a neighboring area of Toronto, with no further details.
Determined, I managed to locate him. Along with my editor and a Tibetan translator, we interviewed him, shared Tibetan tea (which was very salty) with cookies and set up my equipment for the shoot. The remote strobe lighting fascinated both him and his traveling monks, as they had never seen such technology before. During the session, I asked to see his prayer beads. As he reached for them, I captured a candid moment, and he broke out laughing. The entire shoot lasted under five minutes, but its impact was profound. Afterward, the Karmapa stood up, shook my hand, and simply said, “See you.” For me, it felt almost like shaking hands with a divine figure.
At the hospital, I was deeply involved in developing communication technology for children who were non-speaking. They utilized a system called Blissymbols, invented by Charles Bliss after World War II as an international symbolic communication method. While his system never gained widespread public adoption, it became quite renowned at our hospital.
During one of his visits from Australia to Canada, I managed to locate him in a run-down hotel in downtown Toronto. I spent the weekend interviewing and photographing him, building a rapport as he discovered we shared an engineering background and Jewish heritage. Charles Bliss grew to like me and entrusted me with fulfilling his legacy of helping mankind, a precursor to my lifelong dedication to assistive technology.
After completing my Master’s, I was able to return to my original plan by taking a few courses in photography and design at the Ontario College of Art to further hone my skills.
My work, personal life, and photography were always intertwined, creating opportunities that were profoundly meaningful to me. Reflecting now, amidst the constant barrage of images on social media, I am grateful for the way I was able to develop my own style as a photographer without the pressure to conform to the latest trends and techniques. I simply photographed what I saw and felt, allowing my unique perspective to shine through. The early lessons have stayed with me, and I still photograph on the street, always aiming to tell a compelling story.
Priest at newspaper stand. Toronto, ON, 1979
Arrest. Protest where a press photographer beside me won a national award for a similar image a second apart, Toronto, ON,1980
They Murder. Protesting police violence, Toronto, ON,1980
Hot Chocolate. Street person shivering while families enjoy hot drink, Toronto, ON,1980
John Lennon remembered. Memorial rally after John Lennon’s death, Toronto, ON,1980
Marshall McLuhan funeral. Toronto, ON, 1980
Wheelchair contrast. My girlfriend at the time, together, we fought to change insurance laws, successfully getting the Government to increase the minimum insurance to $1M.
'lOBSTER MAN' AKA FRANK by Steve Scott
'Iobster Man’
aka Frank
by Steve Scott
For the past four decades, Frank Flanagan's life has been woven into the fabric of Renville, Galway, as a dedicated lobsterman.
From the rugged shores of the Wild Atlantic Way to the tranquil bays, he has plied his trade with unwavering commitment. Rising before dawn, he has set out into the misty mornings and braved the choppy waters, hauling traps and navigating the tides with seasoned expertise.
In Renville's tight-knit coastal community, Frank is not just a lobsterman but a respected figure, admired for his skill, resilience, and deep connection to the sea.
Through the years, as the seasons have ebbed and flowed, Frank's life has been a testament to the enduring bond between man and ocean in the picturesque landscape of Renville, Galway.
loneliness, waiting, looking, calmness by Jeremy Cooper
loneliness, waiting, looking, calmness
by Jeremy Cooper
Upon reviewing my photographs from 1978 to the present day, I have noticed that some of my favorite images prominently feature solitary figures, as well as a few couples. These are not portraits, and the individuals in the photographs were not known to me. The images seem to convey feelings of loneliness, waiting, looking, and calmness.
These mono images vary from film I processed in 1978 to mobile phone shots, and various digital cameras.
My name is Jeremy Cooper. I live in Wolverton, "The First Railway Town", built in north Buckinghamshire next to the Grand Union Canal, half way between London and Birmingham. It is now part of the new city of Milton Keynes.
I'm a retired BBC TV producer - I made documentaries (mainly on location) to accompany distance-learning Social Science courses produced by the Open University (based in Milton Keynes).
I now enjoy shooting and/or editing videos, and designing websites - but seldom for payment nowadays.
I've been a stills photographer since I was in my teens.
"Saigon By Night" by Thuỳ Huỳnh
Saigon By Night
by Thuỳ Huỳnh
I was born and raised in Saigon. The project "Saigon By Night" is dedicated to my beloved city. Over the years, Saigon has experienced significant development, with skyscrapers now dominating the skyline. Most Saigon residents are familiar with the saying "Sài Gòn hoa lệ, hoa cho người giàu, lệ cho người nghèo," which translates to "Saigon is glamorous, glamour for the rich, horrendous for the poor." This quote reflects the socioeconomic disparities in Saigon, where the wealthy enjoy luxuries symbolized by flowers, while the poor face hardships represented by tears.
In this project, I want to approach the angle of daily nightlife in this bustle and hustle city, as what they call “street culture”. What comes between is how they struggle to live in such a splendid city.
I have decided to make the street vendors the main characters of my project. Life is a rush and it has never been easy for them (or for us). They go around selling their goods, no matter how bad the weather is. One thing I really admire about them is that they can provide for their entire families and raise their kids with the income from their small businesses.
Speaking of street culture, I would like to talk about street food. I am proud to say that Vietnam has one of the best cuisines in the world. Especially in Saigon, there are a plethora of street vendors. It would be a shame to visit Saigon without trying the street food. In addition to my mom's cooking, these street vendors have played a significant role in my upbringing.
I had a really funny experience while shooting this project. They actually mistook me for a reporter and even called me that, which made me really happy. In reality, I'm just a 22-year-old girl who loves photography. They were so friendly and open during the shoot. They said things like, "Do I need to smile?", "Let me pretend to cook for you to take a photo.", "Hey, how’s the photo? Do I look handsome?", "Am I going to be on TV?", and so on, as soon as they saw my camera. If this project has a chance to be published in a magazine, I would like to give a huge credit to them.
I don’t have much to write about myself. In fact, I’m not a photographer and have never learned about photography. I just have a strong passion for photography, especially street photography, since I was a kid, and after all these years, I still enjoy it. However, I have not been able to invest much in this due to various reasons. Moreover, I have some ideas, but I don’t know where to get started. I'll take it step by step. First, I want to ask for the opportunity to have my project published in a magazine. Even if my work doesn't meet your requirements for publication, I would be grateful for the chance. It means a lot to me.
Life in a Brickyard by Patricia Kerkhofs
Life in a Brickyard
by Patricia Kerkhofs
In the countryside of India, there are places called brickworks where families work really hard to make bricks by hand. These are brick kilns, where topsoil is mixed with a few other materials. This kind of hard work is exhaustive, but it provides work for people.
Every day, they wake up early and go to the kilns, where they shape the clay into bricks. It's tough work, especially because it's hot and there is a heavy smell caused by the clay and the fires. The women, with their rough and strong hands, knead the mud and place it inside moulds. They lift the wooden moulds and repeat the procedure. These bricks are put in the sun to dry and then baked in these kilns at high temperatures to harden them.
The families live in small, simple houses near the kilns. These houses are constructed using natural materials. Hence, they are not that robust, and they don’t protect against heat and cold that well. Kids enjoy playing with friends, but they also support their families by making bricks when growing up. Making a living and earning a lunch is a hard job for these families. But there is a strong sense of community and mutual support. This craftsmanship, although laborious and exhaustive, is an important economic activity these people do every day with pride and resilience.
Since the early 2000s, Indian brick factories have been involved in international scandals due to poor working conditions and environmental impact. In 2017, a documentary highlighted concerns about working conditions resembling slavery, with workers being loaned money upon hiring and having to work a whole season to repay the debt. Details such as wages, working hours, and debt interest are at the discretion of the factory owner. The promised pay never coincides with the actual pay, leaving you uncertain if your job will repay your debt. Rebels or escapees face violent repression. To aggravate the situation, the widespread exploitation of children under the age of 14, forced to work up to 9 hours a day, even in the height of summer.
In India, there are over 100,000 brick factories, employing more than 23 million workers. That's the scale of the phenomenon.
ProgressivE-zine #30 The Invisibles / Friday 01.21.22
Echo by Rowell B. Timoteo
Echo
by Rowell B. Timoteo
Hello there, faces and shadows, I see you stop,
Eyes seeing a wonderful sight, I borrow your mysterious light.
Staring silently, circling and waiting,
My camera clicks, I am drawing a connection with signs.
Moments intertwine, seeing life in a different timeline.
In 2017, I started my master’s degree while working full-time. I bought my first camera, a Fuji X-A10, and discovered a passion for photography, especially macro photography of insects. In 2020, I enrolled in a street photography workshop and fell in love with it. Despite the challenges of the COVID-19 pandemic, I continued to learn through online resources and joined a mentorship program with a seasoned street photographer. My dedication paid off, and in 2023, I was featured in exhibitions in the Philippines and internationally, recognizing my growth in street photography.
As I organized my photos, the word "Echo" came to mind, inspiring me to capture candid documentation of the world around me through street photography. This art form reminds us to strive to be better at being human. I always keep my eyes open, capturing moments as time flows. I love observing my surroundings, even when I'm waiting. I observe everything within my reach, and stories develop in my mind.
I find solace in street photography, which allows me to balance my thoughts and connect with everyday moments. Despite the challenges of juggling responsibilities, I strive to keep my passion for photography alive. I have learned to manage my ego and maintain a positive attitude. I am mindful of respecting individuals' privacy and always abide by my principles when capturing moments in public places.
Despite my daily eight-hour work schedule, my day job and my passion for street photography have found a harmonious coexistence.
I've been a government employee for 15 years and have pursued street photography for four years. Through dedication, I've achieved unexpected success, including international exhibits, contest wins, and online publications. I've also become a citizen photojournalist and have the chance to be featured on The Pictorial List website. All these accomplishments stem from my passion for street photography. When I'm not working or taking photos, I'm working on my thesis. I hope to finish it and graduate with my master's degree. I spend quality time with my girlfriend and visit her hometown on weekends. I also enjoy spending time with my mother. Balancing work and personal life helps me cope with daily pressures and stress, and being with loved ones refreshes me.
LOCATION: La Union PHILIPPINES
CAMERA/S: Fuji Xpro2, Fuji XA3, Realme 6 pro smartphone
In bike through the night by Ollie Cunningham
Through the night
by Ollie Cunningham
Every week I would ride my bike through the night since it was the only way to come back from school after practice. I thought the night was scary because of the darkness that engulfed the world, but no matter where I went, there were always lights guiding my way. Throughout my rides back I discovered the beauty of the night and how the lights served as a guide through my adventures of the unknown. There's so much emotion in the dark that we don't notice, and I want to show this unforeseen to the world.
Ollie Cunningham is a nighttime street photographer and a junior at the Los Angeles Center for Enriched Studies (LACES). He discovered his love for nighttime street photography while riding around the city on his bike.
Urban Solitudes by Pascal Colin
Along a wall
Or on a bench
On a bus
Or on the way
Images of solitude
Attract
And seduce me
The subject will detach
Imanquably
Emerging from the shade
Suddenly shining
In the light
I spot it
I isolate it
I shoot
He is no more alone in the city
Than in the countryside
But here he offers himself
To my lens
He is no more unhappy
Than another
Accompanied by
Good or bad
That’s not the point
It is the human soul
That I try to capture
Tirelessly
Pascal Colin
Eloquence of the Eye Nilanjan Ray
Eloquence of the eye
by Nilanjan Ray
Eloquence is a powerful, moving, and magnificent form of self-expression. The eye is the jewel of the body, and almost nothing needs to be said when one has eyes, as they have a universal language. The eloquence of the eye reflects the antiquity of one's soul, and it has an interpreter that is often unconscious but still faithful. Eyes have their own language, and they speak of things we dare not say. The mind and soul both reflect through our eyes, and they see only what the mind is prepared to comprehend.
Eloquence makes depth in expression more complete when it comes through the eyes. Our eyes are not only more accurate witnesses than our ears, but they can also do a thousand things our fingers cannot.
My eye and God's eye are one, seeing, knowing, and loving. They also speak of war, deprivation, and loss, and they are the books, arts, and academies that show, contain, and nourish the entire world. There is a road that connects the eye to the heart, bypassing the intellect. The eyes are the most powerful social signalers that we have, and they are sometimes called the windows of the soul. The countenance is the portrait of the soul, and the eyes mark its intentions.
Nilanjan Ray is an award-winning photographer who started photography as a hobby and eventually turned it into a full-time profession. He prefers to shoot in monochrome and often captures the uncomfortable aspects of our contemporary world, including human pain resulting from exploitation, the terror of wars, and ecological destruction.
Ray has received awards from National Geographic, the Government of India, and has exhibited his work both nationally and internationally. His works have been published in leading newspapers and magazines and selected for several books. He has even received a letter of appreciation from Maitre Henri Cartier-Bresson.
Jaffa road in sun by Baruch Gian
Jaffa road in sun
by Baruch Gian
Photography on street along the year and against the sun
Last essay I wrote about Jaffa Road on rainy days. During this time, I collected a few pictures from the street against the sun, usually early in the morning. Most of them were taken in the last four years. From this perspective, I can see the loneliness in a big city, I can see people praying and concentrating on their books, I can see dogs and cats, runners and riders. Sometimes, I speak with them, but mostly they are anonymous. I love seeing the colors of women's dresses and the different strides of people. Against the sun, I can see street lights being illuminated by the sun.
It's the Lunar New Year by Martin Ingber
Lunar New Year
by Martin Ingber
It's the Lunar New Year, the 'Year of the Dragon', and there will be a traditional parade in Manhattan's Chinatown on Sunday to celebrate. Here's wishing a happy new year to all those who celebrate!
