"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.

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

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"The more pictures you see, the better you are as a photographer”. - Robert Mapplethorpe

"It’s a weird combination that makes a great picture. It’s a complete mystery to me." - Alec Soth

In this episode, Antonio and Ward talk about recent exhibitions, photobooks, and the ongoing evolution of their work. Ward shares his experience seeing large Fred Herzog prints in person and describes the impact of standing in front of that rich, immersive color. The conversation also turns to Tetsuo Suzuki’s latest book and the emotional intensity that can come from sequencing images into a cohesive, almost psychological body of work.

Antonio reflects on presenting “The Fourth Epoch” to the Park West Camera Club, discussing what it means to publicly trace the arc of his creative life and speak openly about transition and change. Along the way, they briefly touch on the visual possibilities of photographing hockey, but the heart of the episode centers on seeing, sequencing, and how photographers make sense of where they’ve been—and where they’re headed.

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“Your photography is a record of your living, for anyone who really sees.” – Paul Strand

"We are judged, not by the photographs we take, but by the photographs we show." – Ted Grant

In this episode, Antonio and Ward move from recent shoots into a thoughtful conversation about what photographers are really responding to when they raise the camera. Antonio shares his growing excitement around astrophotography, from capturing Jupiter’s moons to photographing the Orion Nebula for the first time, and how even familiar subjects feel personal when you experience them firsthand. He also talks about a recent portrait session that reminded him how much intuition, pacing, and human connection still matter in photography, no matter how advanced the tools become.

The heart of the episode revolves around a simple but powerful idea: photographers often end up photographing their own temperament. Ward reflects on how darker, moodier work in Japan drew him in based on what he was feeling and noticing in the streets, while Antonio connects his quieter Brooklyn images to the grief and inward focus he was living through at the time. Together, they explore how environment, emotion, curiosity, anxiety, and even life transitions subtly shape what each photographer sees and chooses to frame. Rather than chasing trends or external goals, the conversation lands on the idea that our photographs often mirror where we are mentally and emotionally — whether we realize it or not.

Addendum: Yes, Antonio is fully aware that there are words ending in double “ff.” His brief confusion is being attributed to something like lack of sleep, brain fog, or possibly too much Banff-adjacent riff-raff talk. It happens. Forgive and move on.

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"The Chinese have a theory that you pass through boredom into fascination and I think it's true." ― Diane Arbus

“If only we could pull out our brain and use only our eyes.” ― Pablo Picasso

In this episode, Antonio and Ward talk about what happens when your photography starts to feel flat, and why boredom isn’t always a bad thing. They kick around the idea that boredom can be a signal to slow down, stop forcing work, and let your eye reset on its own. The conversation also touches on how the camera can act as a kind of shield, especially when photographing difficult or emotionally loaded situations, and how that distance affects both the photographer and the images being made.

The second half of the episode turns to color, specifically dye transfer printing and why it still holds so much weight in the history of photography. Using photographers like William Eggleston, Irving Penn, Joel Sternfeld, and Ernst Haas as touchstones, they talk about how dye transfer created a physical, almost unreal richness that modern processes struggle to match. From there, the discussion opens up into a broader reflection on growing as photographers—what you stop chasing over time, how your instincts change, and why learning to sit with uncertainty can quietly push the work forward.

Video of dye transfer process.

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"Passion is in all great searches and is necessary to all creative endeavors." ― W. Eugene Smith

“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” ― Scott Adams

In this first episode of 2026, Antonio and Ward ease into the new year by talking about making physical photo objects and what it feels like to see work finally leave the screen. Ward shares the experience of producing a small, full-bleed black-and-white zine from his recent time in Japan, focusing less on explanation and more on mood, sequencing, and how images start to speak to each other once they’re paired on the page. They talk about living with images, resisting the urge to over-edit, and trusting instinct over feedback loops or social media response. The idea of the zine as a tactile object keeps coming up—not just as a container for photos, but as something meant to be held, revisited, and experienced slowly.

Antonio then shifts to a different kind of learning curve, talking about taking a drone pilot course and what it’s been like to approach photography from the air for the first time. He describes the mix of technical study, regulations, and hands-on flying, along with how that knowledge changed his confidence and mindset. What stands out most isn’t the gear or the video potential, but the photographic possibilities—new patterns, unfamiliar perspectives, and the quiet strangeness of seeing familiar landscapes from directly above.

The episode closes with Antonio reflecting on photographing protests in his new community and what it means to document events you’re personally part of. He talks about choosing to show up with a camera, navigating trust and visibility, and how being present as both participant and photographer changes the way images are made. The discussion touches on empathy, history, and the tension between observing and taking a stand.

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"Don't shoot what it looks like. Shoot what it feels like."

– Unknown/Commonly Attributed

“I am not interested in shooting new things – I am interested to see things new.”

– Ernst Haas

In this year-end episode of Street Shots, Antonio and Ward take some time to reflect on the past year and how their photography has been shaped by it. They talk about recent projects, photo books that left an impression, and how changes in place, access, and pace have influenced the way they see and make pictures. Rather than chasing trends or noise, the conversation leans toward slowing down and paying attention to what feels honest and sustainable.

They also discuss using newer tools, including AI-based image critique, as a way to better understand their own work — not for answers, but for reflection. The episode settles into a thoughtful conversation about distance, presence, and the quiet shifts that happen when photographers trust their instincts and give themselves permission to evolve.

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"It’s a weird combination that makes a great picture. It’s a complete mystery to me." -- Alec Soth

"A portrait isn’t a fact but an opinion—an occasion rather than a truth." -- Richard Avedon

In this episode, Antonio and Ward reflect on the recent passing of Martin Parr, talking through what they’ve long admired about his work, his move from black-and-white to color, his time at Magnum, and the way he photographed everyday life without smoothing out its edges. The conversation also drifts into a new idea Antonio picked up by accident at a Christmas market in Nebraska, where he connected with a nonprofit that helps formerly incarcerated people train for work in professional kitchens. He talks about why that idea stuck with him and how he’s imagining photographing the space—both behind the scenes and through more formal portraits made in the kitchen itself.

Speed skating becomes another thread, with Ward unpacking his weekend shooting a World Cup event in Calgary. Autofocus frustrations, missed shots, and the value of reviewing a rough first day all lead to a shift toward slower shutter speeds and motion-based images that felt more honest than frozen action frames. The episode also circles back to their previous conversation with motorsports photographer Jamey Price, offering a clearer recap of some of the racing terms and technical references that came up, grounding the discussion for listeners who may not live in that world.

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Ward and Antonio chat with motorsport photographer Jamey Price about his unexpected path from riding racehorses to shooting some of the biggest racing events in the world. Jamey talks about the long, hectic days covering endurance races, the fun and chaos of working with major teams, and how his newspaper days taught him to make even the dull assignments count. He also explains how his new book, Racing Unfiltered: A Year in Motorsports Captured on Film, grew out of playing around with a cheap plastic NASCAR camera that somehow opened more doors than his pro gear ever could. Throughout the conversation, he keeps things grounded, sharing how slowing down, noticing people, and having fun with the process led to some of his favorite moments behind the scenes.

Jamey Price's Website, Instagram, YouTube, and Twitter/X.

His new book, Racing Unfiltered: A Year in Motorsports Captured on Film

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