"Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual." -- Edward Weston

"I see no reason for recording the obvious." -- Edward Weston

In this episode, Antonio and Ward talk about Fujifilm cameras, autofocus, and film simulations. Antonio shares his frustration after missing bird photographs because the autofocus refused to lock onto obvious subjects, while Ward compares his own experiences photographing action with Fujifilm gear. They discuss firmware updates, the expectations photographers have for modern autofocus systems, and how working with film simulations can encourage a slower, more intentional approach to photography.

Antonio and Ward spend the second half of the episode talking about Edward Weston’s Daybooks and the ideas that shaped his photography. They discuss Weston’s famous pepper photographs, his search for what he called “the thing itself,” and his belief that photography should reveal the true character of a subject rather than imitate painting. They talk about the relentless self-criticism found throughout his journals, the years he spent refining both his craft and his artistic philosophy, and the challenge photographers faced in convincing the art world that photography belonged alongside painting and sculpture. Along the way, they reflect on how Weston’s writing still offers practical lessons for photographers today and why his way of seeing continues to inspire nearly a century later.

Links:

• Edward Weston – The Flame of Recognition
• Edward Weston’s Daybooks
• Pepper No. 30
• Fujifilm film recipe iPhone app
• X Sim Lab - Fujifilm RAW processing iPad app

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In this episode, Antonio and Ward talk about how photography often grows out of ordinary days, familiar routines, and the small things that catch our attention when we are willing to stay open to them. The conversation moves through weather, travel, flea markets, rodeos, old cameras, and personal projects, but the larger theme is about remaining photographically awake even when there is no grand subject in front of you. Whether it is storm clouds over Nebraska, a county fair, a vintage Kodak Brownie, or a quiet experiment with color, the episode is about trusting the small sparks that keep a photographer engaged.

The discussion also turns toward presence and patience, especially through the Japanese idea of Zanshin, or “remaining mind.” Antonio and Ward connect that idea to photography as a kind of follow-through: staying with the moment after pressing the shutter, rather than rushing away from it or judging the image too quickly. Alongside references to William Eggleston, simple cameras, and ongoing personal projects, the episode becomes a reflection on attention itself: how photographers keep seeing, how they work through quiet periods, and how the ordinary can become meaningful when we give it enough time.

William Eggleston Fixed Digital Photography’s Biggest Flaw - The Photographic Eye

Alfie [BOXX] Camera on Kickstarter

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"All the technique in the world doesn’t compensate for the inability to notice." -- Elliott Erwitt

"Beauty is in the commonplace." -- Cig Harvey

In this episode of Street Shots, Antonio and Ward talk through the strange little photographic droughts that happen when life gets busy, energy runs low, and the camera starts to feel less like a calling and more like one more thing to carry. Ward returns from his mother’s birthday gathering with a camera full of near-misses and puppy pictures, while Antonio talks about photographing at a family wedding, experimenting with off-camera flash, and trying to make pictures close to home while recovering from allergies and general springtime sluggishness.

The conversation settles into the idea of “low-energy photography” — not as a failure, but as a way back in. Antonio talks about photographing birds from the deck, making pictures in the backyard, and using a new Fuji film simulation to see familiar spaces differently. That leads into a larger discussion of Walker Evans, ordinary subjects, and the pressure photographers feel to make every image a polished “hero photograph.” Rather than chasing spectacle, Antonio and Ward make a case for the plain, nearby, and easily overlooked: the kind of photography that may not shout right away, but often stays with you longer.

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"To me, photography is an art of observation. It's about finding something interesting in an ordinary place." - Elliott Erwitt

"There's nothing more extraordinary than reality." - Mary Ellen Mark

In this episode, Antonio and Ward talk about photographing ordinary things: streets, buildings, objects, empty places, and quiet scenes that may not seem important at first glance but begin to carry meaning when a photographer pays attention. Using Stephen Shore as a jumping-off point, they explore the difference between an ordinary subject and an ordinary photograph, and why an image does not always need a clear “hero” object to be worth making. Antonio connects the idea to his recent photographs of Ashland, Nebraska, while Ward reflects on his own habit of returning to familiar objects and places. Together, they consider how photography can give us permission to notice what is usually overlooked, and how the quietest pictures can sometimes say the most.

The Photographic Eye - What Stephen Shore Knew About Shooting Boring Places The Photographic Eye - How Joel Meyerowitz Shoots The Hardest Subject In Photography

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"...photography is made essentially of time. I often think that what we show is a point in time, more than a window onto space." -- Frank Horvat

"The camera can’t see space. It sees surfaces. People see space, which is much more interesting." -- David Hockney

In this episode, Antonio and Ward begin with a tactile return to photography’s older rhythms as Antonio talks about rediscovering and shooting with a pair of film cameras, including an Olympus Stylus and a Nikon 28Ti. What starts as a story about loading film and checking batteries turns into a broader reflection on the pleasures of using older gear, the quirks of expired Ektachrome, and the appeal of getting back to black-and-white processing by hand. There is also some thoughtful camera talk along the way, not for its own sake, but as part of a larger conversation about the physical experience of making photographs and why that still matters.

From there, the conversation opens out into the latest Artemis moon mission photographs, which become the real heart of the episode. Rather than treating them as mere space documentation, Antonio and Ward look at them as photographs and ask why some hit harder than others. They talk about the emotional pull of images that include the astronauts, the wonder carried in views of crescents, eclipses, and Earth seen from deep space, and how these pictures connect to memories of growing up during the moon missions. The discussion also touches on how differently such images reach us now, arriving instantly in a time when photographs are everywhere and trust in them is no longer automatic. It is a thoughtful episode about wonder, memory, and the human side of seeing.

NASA Images can be found here.

Photo of Neil Armstrong

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"When you make a print, you are making an art object. You can’t hang a scan on the wall." - George Tice

"One of these days, I'm going to publish a book of all the pictures I did not take. It is going to be a huge hit." - René Burri

In this episode, Antonio and Ward focus on printing as a way of bringing photographs off the screen and into physical form. Using their recent conversation with Gavin as a starting point, they talk about books, zines, print exchanges, and the appeal of making photographic work tangible. They also discuss paper choice, including the look and feel of thicker fine art papers, and how printing decisions affect the final presentation of an image.

The conversation moves into the practical side of selling prints. Antonio and Ward talk about questions around print fulfillment, whether to handle printing personally or use a service such as SmugMug, how much control a photographer should keep over size and presentation, and how to decide which images are right for sale. The episode centers on the process of moving from digital files to finished prints, and on the choices photographers face when they want to share or sell their work in physical form.

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Antonio's Print Store.

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"When I play music, I see images. When I make images, I often hear music."

"Wonder is not a property of childhood but a function of attention.”

-- Gavin Libotte

In this episode, Antonio and Ward mark their 250th show by talking with Australian photographer Gavin Libotte, whose path back into photography took a long detour through graphic design, music, teaching, and family life before street photography pulled him in for good. Gavin talks about losing his camera gear when he was young, rediscovering image-making through the iPhone and Hipstamatic, and then finding a deeper creative groove through daily shooting, books, zines, and long-term projects. What comes through most is how photography, for him, is tied to rhythm, intuition, and being fully present in the moment, with music and visual composition feeding each other in a very personal way.

The conversation also gets into the way Gavin works: his graphic sense of color and design, his experiments with off-camera flash, his water photography, and the making of his book Symphony Number Five. Along the way, Antonio and Ward respond to the emotional pull of Gavin’s pictures, especially one Sydney Opera House image that sends the discussion into ideas about wonder, timing, and why certain photographs hit so deeply. It ends up being one of those episodes that is partly about technique, partly about books and process, and partly about what photography can do for a person when it becomes a way of staying awake to the world.

Note: Gavin mentioned Melissa "O'Doherty" by mistake but actually meant Melissa O'Shaughnessy.

Gavin Libotte - Website, Instagram. Purchase his book "Symphony No 5" here.

Gavin's Spotify

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