Listening to Bethany Jacobson talk about NYC in the 80s in our last episode was absolutely fascinating, but it was an unfamiliar world for me. This week, we relived a little 90s nostalgia with Kai Diaz, and I have to say, it took me back to my own teenage years, albeit an East Coast version.

Kai grew up on MTV, skate videos, and surf magazines and it was that kind of visual culture that shaped the way he sees, even now. As a kid, he became the unofficial documentarian of his friend group, filming skate sessions and documenting life on film. To this day, friends call him looking for old memories, and he’s usually got the photos stowed away, ready to scan and send. So, you can add archivist to the list of Kai’s abilities too.

He said, “I just wanted to remember everything…that’s kind of how I got into photography.” And while he started shooting so he wouldn’t forget (Peter Pan syndrome, he calls it), over time, he’s honed his craft into something much deeper. These days, observation, storytelling and curiosity are at the heart of what he creates. “It’s just in me to document stuff,” he says.

With just a few exceptions, Kai has stayed true to film photography over the years, both for the benefits that come from a slower process, and for the quality of work film produces. Film pushes him to get it right in-camera instead of fixing things later. Plus, he argues that there’s something about film that’s hard to explain but immediately noticeable, a quality that digital (even with filters) doesn’t quite replicate.

And when you look at his work, you can see it. His photos feel cinematic, which is a product of his approach, but also his early visual training, one that came from all those classic 90s films. Kai was (and still is, sounds like) obsessed by films from directors like Christopher Nolan, Steven Spielberg, and Stanley Kubrick. “They don’t have to explain anything… they just show it to you and you feel it,” he says. That same philosophy carries into his own photography: no over-explanation, no forced narrative, just images that make you feel something, and scenes that make you curious.

We dove into the creation of Kai’s upcoming book too, “Echoes of the Unseen,” which promises to be an incredible collection of work, and Kai talked candidly about the challenges that come with book-making.

At the end of the day, Kai isn’t just making photographs, he’s leaving behind a record. Whether it’s a box of old prints, a future photo book, or an image hanging in someone’s home, it all serves the same purpose: to make sure something lasts.

And there’s something pretty powerful about that.

• Website
• Instagram
• Kai Diaz: Living Forever (SPM Feature)

In this episode of the Street Photography Magazine podcast, Bob Patterson and Ashley Riffo sit down with photographer, filmmaker, and educator Bethany Eden Jacobson for a conversation that was part time capsule and part behind-the-scenes look at a creative life.

Bethany takes us back to the gritty, electric energy of 1980s downtown New York, which was an era where art, music, and rebellion collided. From photographing icons like Iggy Pop to documenting the underground scene shaped by figures like Jean-Michel Basquiat, her work captures a moment that was raw and unfiltered, and though she didn’t realize it at the time, transformative for the art world in general.

But it wasn’t just the nostalgia that made this conversation interesting. We also talk about what it means to revisit your archive decades later, how filmmaking influences photographic storytelling, and why editing—whether for film or a photo book—is where the real work begins. Bethany also shares her thoughts on creative identity, resisting the pressure to “niche down,” and embracing a multidisciplinary approach in a world that often demands labels. It’s a great conversation for anyone out there in the wild navigating their own creative path right now.

• Bethany’s Website
• Kickstarter for “Another Time, Another Place” – LAUNCHING APRIL 14TH

Several months ago, after an editorial meeting with Bob, which was packed with beautiful and meaningful projects, I admitted that I often feel like I don’t know what I want to say with my camera.

I did not share this with Jorge Delgado-Ureña, photographer, writer, educator, and co-founder of The Raw Society, but it goes without saying that our conversation hit home for me personally.

In this episode, Jorge and I talked, among other things, about intention in photography. Why it’s so hard to nail down, and why it matters more than we might like to admit.

Jorge shares his perspective on storytelling, responsibility, and the difference between simply taking photos and actually saying something with them. Plus, you’ll hear about how The Raw Society came to be, what a fantastic community it’s turned into, and what’s in store for the upcoming inaugural Raw Photo Fest. I loved hearing about a festival that will showcase photography in a way that is accessible to anyone and everyone, including kids, locals, and non-photographers.

“Raw Photo Fest is more than a festival. It is an invitation to slow down and connect — with photography, with stories, and with Menorca itself.” – Christelle Enquist, Co-founder of The Raw Society and Festival Director

This episode has plenty of food for thought, and it might just challenge the way you’ve been shooting. I know it gave me a little something to wrestle with.

• The Raw Society
• The Photographer’s Journal (Jorge’s Substack)
• Raw Photo Fest

Watch this episode on YouTube

In this episode of the Street Photography Magazine podcast, Bob and I had the chance to sit down with photographer Doug Bruns. And the conversation we had was the kind that sticks with you long after it’s over.

We talked about how growing up around cameras and photographers shaped his path, and how a formative trip abroad set him on a lifelong journey of travel and image-making. But this episode goes way beyond origin stories.

We talked about what it means to photograph for yourself instead of for validation, how stepping away from social media impacted Doug’s creativity, and why committing fully to black and white photography gave him a surprising sense of freedom. We also got into the realities of creative dry spells, discipline, and the long, often nonlinear relationship we have with our work.

Doug shared a few stories that really stayed with me too, especially one about discovering a sculpture deep in the Maine wilderness that reshaped how he thinks about creativity and purpose.

This isn’t just a conversation about photography. It’s about identity, intention, and figuring out how to stay connected to your creative voice over time.

If you’ve ever questioned why you make photos, or if you’ve ever felt stuck, distracted, or disconnected from your work, I think you’ll find something meaningful in this one.

• Doug’s Website
• Doug on PixelFed
• Doug on Glass
• The photography of Alison Wright

P.S. You can also watch our conversation on YouTube.

Street photography often begins with curiosity. For Carmina Ripolles, it also began with a moment in life when creativity became a necessity.

In this episode of the Street Photography Magazine podcast, Bob Patterson and Ashley Riffo talk with Carmina, a street photographer and English teacher whose work celebrates what she calls the “beautifully ordinary.” Her journey into photography began during the lockdown, a time when the world slowed down and many people found themselves searching for new ways to express and understand their experiences.

What started as a creative outlet soon became something deeper. Inspired by photographers like Vivian Maier and Richard Billingham, Carmina began documenting everyday life with a keen eye for small gestures, fleeting expressions, and quiet moments that often go unnoticed. Her photographs remind us that meaningful stories don’t only exist in dramatic scenes, they are happening all around us.

Throughout the conversation, Carmina talks about how photography helped her know herself better as a true people person. She also shares how listening, observing, and engaging with others can transform a simple moment into a photograph that resonates.

Her goal isn’t to dramatize the street or focus only on hardship. Instead, she looks for humanity, humor, and joy in daily life. As she puts it, she wants her images to be “beautifully ordinary.”

In a genre that sometimes gets defined by bravado or confrontation, Carmina’s photographs remind us of another path.

• “The Fugitives” by Carmina Ripolles (The Bee)
• “When We’re Smiling” by Carmina Ripolles (The Bee)
• Carmina on Instagram

In this episode of the Street Photography Magazine podcast, Bob Patterson sits down with Swiss photographer Michael Eugster. Though relatively new to the street photography scene, his photos are incredibly good, and have garnered him quite a bit of recognition in festivals and exhibits around the world.

When Michael began experimenting more seriously with photography, he first focused on landscapes. (I mean, how could you not if you lived in Switzerland?) But when he started photographing in Zurich, something shifted. As people entered the frame, the images felt more alive.

“Suddenly, people came into the pictures,” he says. “And I realized this is definitely a more interesting element.”

Street photography gave him emotions and stories that landscapes couldn’t.

Once he discovered that, he committed. Michael studied online resources, listened to podcasts, and spent as much time shooting as possible. Practice became the foundation of his progress. The more he photographed real life unfolding around him, the more confident he became in anticipating moments.

Today, Michael approaches street photography with the mindset of a collector. Rather than chasing a single perfect image, he looks for recurring themes that catch his attention over time. Matching colors across strangers, lost gloves abandoned on sidewalks, and even interesting backs, yes, backs, have become ongoing personal projects. These small visual puzzles give him direction while still leaving room for surprise. The street always has the final say, and part of the joy is staying open to whatever appears next.

Community has also played an important role in his growth. Photography festivals introduced him to other street photographers who share ideas, encouragement, and honest feedback. Those connections have helped turn a solitary practice into a shared experience.

Michael’s journey is relatable. He did not begin as an expert. He improved rapidly, simply by staying curious and practicing consistently. For anyone exploring street photography, his experience is a reminder that growth comes from intention and effort.

• Michael’s Website
• Instagram
• Michael on Substack

In this episode, Bob and I had the chance to talk with photographer Xiomaro about a creative path that definitely didn’t start with photography.

Before he ever picked up a camera, Xiomaro’s world revolved around music and law. He performed, managed artists, and built a legal career working with musicians. Photography really only entered the picture after a prostate cancer diagnosis forced him to slow down and rethink what he wanted his life to look like moving forward.

What followed wasn’t some dramatic overnight pivot. It started quietly, with travel and time spent photographing national parks during his recovery. That period led to something pretty remarkable: acceptance into a National Park artist residency. Living and working in that environment gave him space to think, to create without pressure, and to reconnect with curiosity in a way that hadn’t been possible in his previous professional life. His park work grew into exhibitions and commissions, but more importantly, it helped him rediscover the joy of making something simply because he wanted to.

Street photography came later, almost accidentally.

While commuting to a legal job he had taken for financial stability, he began photographing daily life in New York City. Not with a grand vision or a long-term plan. Just as practice. Just to stay engaged creatively.

In our conversation, Xiomaro talks about how his background in music still shapes the way he works today. There’s a strong sense of improvisation in his approach, learning the craft, putting in the reps, and then letting instinct take over. Whether he’s photographing sweeping landscapes in a national park or fleeting moments on a city sidewalk, that same mindset carries through.

We also talk about how surviving cancer changed his relationship to time and to creative work itself. Photography became less about achievement and more about presence. Less about structure and more about play.

It’s a really thoughtful conversation about reinvention, creativity, and how sometimes the things that start as small personal practices end up reshaping your life in ways you never expected.

• Xiomaro’s Website
• Instagram
• “Street Photography of New York City: Street Haunting in the Big Apple” by Xiomaro
• “Free Play: Improvisation in Life and Art” by Stephen Nachmanovitch

In the latest episode of the Street Photography Magazine Podcast, Bob Patterson shares an important update about the future of the magazine, and about his own next chapter.

After more than 13 years as publisher, Bob is stepping back from day-to-day leadership and passing the reins to me, Ashley Riffo. This transition has been thoughtful, intentional, and in the works for a while now. The heart and mission of the magazine aren’t changing.

In this episode, Bob reflects on how what started as a six-month experiment turned into the longest role he has ever held. Over the years, Street Photography Magazine grew into a global creative community, something Bob says he’s deeply grateful for. “It’s great work. I’ve loved every minute… almost every minute,” he laughs.

But in all seriousness, this is his baby. He built it from the ground up. Now, at 72 (and a half), Bob speaks candidly about aging, health, and perspective. A prostate cancer ordeal last year became a wake-up call, prompting him to ask: What do I want to do with the time I have left? His openness is a reminder that creativity and self-reflection don’t have expiration dates.

Let me be very clear: Street Photography Magazine is not going anywhere.

You can expect the same thoughtful articles, featured photographers, podcasts, and community-driven storytelling. There are no sudden changes planned, no shift in editorial direction, and no interruption to your subscription. Bob will also continue to be involved, especially with the podcast and behind-the-scenes support, so his voice and perspective will remain part of the magazine.

As the magazine naturally evolves, we’ll continue listening closely to this community. One idea we’re exploring is a possible Spanish-language edition. So if that’s something you’d like to see, we’d love to hear from you. And truly, if you have any other ideas for Street Photography Magazine, please, reach out and tell us! You can send all your ideas straight to me at ashley@streetphotographymagazine.com. Rest assured, any future changes will be intentional and aligned with the values that brought us all here in the first place.

Bob is returning to his own photography, writing, and personal projects, something he’s been inspired to do by the many photographers he’s met through the magazine. He’ll be sharing that journey through Substack, and I know many of you will want to follow along.

I also want you to know how seriously I take the responsibility of stewarding Street Photography Magazine. This publication exists because of its community, and my goal is to honor its history while guiding it forward with care.

Thank you for being here. And thank you for continuing this journey with us.

• Bob’s Substack