chosen from our Facebook Galleries and changed every Monday morning.

Monday 05.08.23

Edd Carlile

This is so powerful that I could not choose another image! There are no better words to describe it than those used by the author:

“Budapest, midnight of August 2015. An Afghan man and his four children are taken from Hungary by car and smuggled across the border to Austria. We say goodbye.”

Monday 05.01.23

Juancho Domínguez & Theodoros Topalis

Martin Ingber & Don Scott

John St & Raffaele Maglione

Today we celebrate Labor Day with seven images.

They are all linked by their respective photographers' ability "to see things". Because the street is not just about grasping the situation, but more importantly “knowing how to see it".

I have chosen three types, the ones that we at Progressive define in this way: On the other side, Pure street, Still life.

And finally another image of John St which is the perfect combination of street and artistry

Monday 04.24.23

Ovidiu Șelaru & Yannis Lagousis

This week I have chosen two powerful images and exactly the opposite. Ovidiu's photo is static, intimist and symbolist; that of Yannis freezes a movement and is documentary and social.

Both are perfect.

Monday 04.17.23

Rene Geensen & Neville Fan

Paul Raymond Paule & Tathagataa Ghosh

This week the sentiment/theme that binds the images I've chosen is 'abandonment'/'detachment'.They are not images that arouse sadness, but that make you feel detached from the outside world.

A man skates in the morning mist, and his only companion is a bird. Who knows what he thinks.

A mother is alone with her child on a deserted beach. Who knows what he thinks.

The hand almost seems to seek solitude, leaving the room's buzz closed inside. Who knows what he thinks.

The two children observe an incomprehensible world from above, in which perhaps they would not like to live. But who knows what they think.

Monday 04.10.23

Pra Budi Zulkarnaen & Pascal Colin

Frank Chacho Quezada & Tony Keyworth

These images struck me because they are all classic street ‘seize the moment’.

The photographer doesn’t always have to rely on stealth, or be quick and attentive to what is happening around them. Someone sometimes lurks waiting for it to happen. Someone has built-in radar.

The first two belong to the group of photographs that we have learned to categorise as ‘on the other side’, because they capture something undefined, the mysterious woman by Pra Budi Zulkarnaen and the man pursued by himself by Pascal Colin. The third by Frank Chacho Quezada is funny, the cyclist who races cars. The fourth by Tony Keyworth is a reference to film noir of the 40s.

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