Ricoh GR IV Monochrome — Street Photography Diary #4 (Light, Intuition & Flow State)

Photography Has Nothing To Do With Photography

What’s poppin’, people? It’s Dante.

Welcome to Street Photography Diary #4, where we look at photographs I’ve been making with the Ricoh GR IV Monochrome.

Today we’re talking about light, photography, exploration, curiosity, and my overall philosophy around the practice.

The way I think about photography these days is becoming much more liberating.

I’m throwing the camera around in unfamiliar spaces.
Looking at faces. Looking at people.

Of course I’m thinking about composition.

But more than anything, I’m honing in on intuition.

I’m letting the chips fall where they may.

I’m not trying to say anything particular with my photography anymore. It’s a radical approach in a way.

The Inner Spiritedness

I’ll see the sunrise hitting the buildings.

I’ll notice reflections creating abstract shapes across the scene.

But what really keeps me photographing every day isn’t the camera.

It’s this inner spiritedness.

This enthusiasm for life.

This love for mundane everyday life.

Just waking up in that state keeps me perpetually photographing.

And I think this is extremely important to talk about because photography actually has very little to do with photography.

The Technical Phase

There are a few stages photographers go through.

At first you learn the technical side:

• How to set the camera
• Where to position your body
• How to synthesize light, subject, and composition
• Timing and framing

Once you become comfortable with your gear and understand these fundamentals, something interesting happens.

You can finally begin to play freely.

Photography becomes much more intuitive.

Your Photographs Are You

I believe the photographs you make are essentially a reflection of who you are.

When you make a frame of someone or something, it’s your state of being that is reflected back through the photograph.

Your attitude.
Your curiosity.
Your way of feeling about life.

All of that carries into the photographs you make.

So to put it simply:

If you’re a boring person, your photographs might be boring.

But if you live an interesting life — if you explore, travel, interact with people, and embrace new experiences — those things live in your subconscious.

They shape how you see.

And that ultimately shapes your photography.

Feeling Deeply, Seeing Clearly

A lot of photography practice gets in the way of simply feeling deeply and seeing clearly.

Cameras.
Gear.
Lighting formulas.
Composition rules.

All of that can create noise.

But the most interesting photographer will usually make the most interesting photographs.

So what should you actually do?

Go out there and:

• Have a laugh
• Explore
• Play
• Talk to people
• Visit unfamiliar places

From that state, you cultivate your own way of playing the photographic game.

Flow State

After a decade of photographing, I’ve realized something.

Making good photographs is actually the easy part.

Framing a scene, noticing light, pressing the shutter — that’s simple.

The hard part is entering the flow state.

That moment where:

• You’re not fiddling with your camera
• You’re not thinking about composition
• You’re simply responding to intuition

You see the light.
You notice a gesture.
You move your body.

Click.

But getting to that point requires something very simple:

Consistency.

The Power of Daily Practice

Flow state emerges from repetition and obsession.

I’ll be honest — I haven’t missed a day of photography in nearly a decade.

I shoot every single day.

Not because I force myself to.

But because I wake up curious.

Photography for me is like breathing.

It’s like waking up and catching the sunrise.

It’s like eating when you’re hungry.

It’s simply part of my life.

Will to Power

Photography is my will to power.

Not power over other people.

But the power to express myself creatively.

To animate my body through the world.

To move through life with curiosity and intention.

And if someone struggles to practice photography consistently, I think it often reflects something deeper.

It might not be a photography problem.

It might be a life problem.

If you’re enthusiastic about life, photography becomes inevitable.

Front Lines of Life

When you wake up with vitality and curiosity, you naturally want to throw yourself onto the front lines of life.

You want to explore.

You want to experiment.

You want to fall down and get back up again.

Photography requires that enthusiasm.

If you’re living a boring life, it’s very difficult to make exciting photographs.

The Surprise

One of the reasons I love monochrome photography is the surprise it creates.

By stripping away color and even gray tones, you’re left with pure light and shadow.

High contrast.

Abstraction.

And that abstraction constantly surprises me.

It’s that sense of surprise that keeps me photographing every day.

Reading Terminal Market

One of the frames from today that intrigued me came from Reading Terminal Market.

There’s a very small window of light inside that space.

Maybe 30 seconds to a minute where the light hits a particular spot.

When the light appeared, I noticed a woman passing through the frame.

I started watching the scene.

Watching people move through the light.

Trying to layer gestures with silhouettes.

Instead of exposing for the background, I experimented with exposure to turn faces into shapes and forms.

Almost abstract.

Just playing with the moment.

And through that experimentation, curiosity grows.

The Simplicity of Monochrome

Monochrome photography has simplified my workflow dramatically.

By reducing the world to light and shadow, photography becomes much more streamlined.

And that simplicity helps me maintain longevity in the practice.

I want photography to become an inevitability.

Something I do naturally every day.

Climbing the Cliff

Behind the Philadelphia Museum of Art, there’s a cliff I like to climb.

I go there often.

Standing up there reminds me to explore.

To experience life directly.

To push myself into unfamiliar spaces.

Not recklessly — but with curiosity.

Photography requires that spirit.

Tokyo Routine

I’m also currently working on a prototype book based on seven years of color photography from my travels.

Looking through the work reminds me of a routine I developed while photographing in Tokyo.

Every morning:

• Wake up
• Grab coffee from a vending machine
• Walk toward the train stations

At 10 AM, the light outside Shinjuku Station would be perfect.

I’d stand there photographing the salarymen moving through the crowd.

Listening to the sounds of the train station announcements.

Watching the rhythm of people flowing past.

Then around noon, when the light changed, I’d take the train to Harajuku.

After wandering through Yoyogi Park, I’d walk down Takeshita Street.

Then around 1:30 or 2 PM, I’d arrive at Shibuya Crossing.

For the next few hours the light was incredible.

Endless waves of people.

Constant movement.

Infinite possibility.

When the light faded, I left.

The Eternal Return

Every day in Tokyo followed the same rhythm.

Same train stations.
Same locations.
Same routine.

Yet every day felt completely different.

That’s the magic of photography.

The light is always changing.

Life is always in flux.

You can stand on the same corner every day and still discover infinite novelty.

Closing

That’s the thought of the day.

Photography has nothing to do with photography.

It has everything to do with how you engage with life.

Open your eyes.
Open your ears.
Bring the camera for the ride.

And explore.

Thanks for watching.

Peace.

Light, Vision, and the Invisible Spectrum

What Light Actually Is

Light is electromagnetic radiation—energy that travels as waves (and also behaves like particles called photons).

All of it—radio waves, X-rays, gamma rays, visible light—is the same fundamental thing, just at different wavelengths and frequencies.

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The Electromagnetic Spectrum (The Full Reality)

The electromagnetic spectrum ranges from:

• Gamma rays (extremely tiny wavelengths, high energy)
• X-rays
• Ultraviolet
• Visible light (what we see)
• Infrared
• Microwaves
• Radio waves (huge wavelengths, low energy)

---

The Crazy Part: What Humans Can See

Humans can only detect wavelengths from about:

• ~400 nanometers (violet)
  to
• ~700 nanometers (red)

That’s it.

That tiny rainbow band? That’s your entire visual reality.

---

How Small That Slice Really Is

• Visible light is less than 0.0035% of the total electromagnetic spectrum.

Think of it like:

• A single key on a piano out of miles of keys
• A thin crack in a door looking into an infinite room
• A grain of sand compared to a beach

Everything outside that band is completely invisible to your eyes.

---

What Exists Beyond Your Vision

Right now, around you, there is:

• Infrared radiation (heat from your body, walls, the street)
• Ultraviolet light (from the sun, affecting your skin)
• Radio waves (WiFi, Bluetooth, cell signals passing through you constantly)
• X-rays and cosmic radiation (from space)

You are immersed in an ocean of energy you cannot perceive.

---

Why Humans See This Specific Range

It’s not random—it’s biological efficiency:

• The sun emits the most energy in the visible range
• Our eyes evolved to detect what’s most useful for:
• Survival
• Movement
• Recognizing patterns, food, and faces

Your vision is not “truth”—it’s a survival filter.

---

The Philosophical Reality

What you call “seeing the world” is a compressed interpretation of a vast, invisible spectrum.

• Objects don’t inherently have color
• They reflect certain wavelengths
• Your brain translates that into “red,” “blue,” etc.

Color is constructed by the mind.

---

Why This Matters (Especially for Photography)

As a photographer, you are not capturing reality—you are:

• Selecting a tiny slice of the spectrum
• Translating it through:
• Sensor limitations
• Dynamic range
• Black & white conversion
• Creating a subjective interpretation of an already limited perception

Photography is a compression of a compression.

High-contrast black-and-white work strips reality down even further:

• No color
• Only light, shadow, and form

This can reveal deeper structural truth beneath surface appearance.

---

Final Thought

You are walking through a world that is:

• Vastly more complex
• Energetically alive
• Mostly invisible

What you see is not the world—

It’s just the part your biology allows you to perceive.

Extreme physical and mental, stoic spartan strength and power with the sensitivity and empathy of a poet who appreciates nature and beauty

Consistency > Motivation: The Real Secret to Better Street Photography

What’s poppin’, people? It’s Dante.

Today I want to talk about the power of consistency in street photography and why this matters more than motivation and inspiration.

I’ve been practicing photography for over a decade now, and I pretty much haven’t missed a single day. In the past 3 years alone, I’ve made around 379,000 frames.

I’ve created a system in my practice that makes photography inevitable.

Show Up. That’s It.

I find that by remaining in the process — staying in motion, going out there, actually photographing — I find meaning in everyday life.

The more I show up, the more I detach from the outcome, the better I become.

The more I fail, the more I improve.

If you’re attached to outcomes — whether it’s making a “good” photo, getting validation, building a project, making a book — all of that gets in the way of actually doing the thing.

What’s liberating is photographing for the sake of photographing.

Just letting the chips fall as they may.

Authentic Expression Comes From Doing

Through that approach, you discover how you actually see.

You discover how you feel about life.

Consistency is just this:

Showing up daily and doing the thing.

Not planning it. Not thinking about it. Not building some perfect idea in a notebook.

The work is done out there in the world.

Not in your head.

Photography Is Insanely Simple

When you really break it down, your only responsibility is this:

Wake up with enthusiasm and go outside.

That’s it.

You’re not responsible for:

• Seeing something interesting
• Making a great photo
• Coming home with anything

You’re only responsible for showing up and making new photos.

The Power of Volume

Even just 1–2 frames a day is more powerful than shooting once a week.

Because consistency compounds.

Over time, you develop:

• Instinct
• Awareness of light
• Sensitivity to patterns
• Physical intuition in your body

You get to a point where photography becomes effortless.

Where flow becomes inevitable.

Consistency Over Projects

Consistency matters more than having a cool project or theme.

My practice is daily. I treat it as a visual diary.

I’m not thinking about making something great.

That thought doesn’t even enter my mind.

And because of that:

Everything becomes play.
Everything becomes effortless.

Quantity Creates Quality

I’m very open about failure.

Because most days?

You come home with nothing.

Just a bunch of bad photos.

But that’s the process.

Quality is extracted from quantity over time.

The more time you spend out there, the more results will come.

But only if you’re actually out there.

Surrender to the Process

At this point, I’ve surrendered to the process.

I’m not focused on the destination.

I’m just walking.

Exploring.

Photographing.

There’s always more to see.

More to experience.

More to shoot.

Remove Friction

If you want to be consistent, you need to remove friction.

For me, that means using a Ricoh GR.

A compact camera I can keep in my pocket.

No setup. No ritual. No barrier.

Just shoot.

That’s the power of a frictionless system.

Your Life Is the Project

You don’t need a big idea.

You don’t need a concept.

Your life is the project.

The process of becoming — that’s the story.

Treat photography like a visual diary.

Show up every day.

Because that’s where the practice lives:

In the daily act of doing the thing.

Ricoh GR IV Monochrome — Street Photography Diary #3 (Play, Self-Discovery & Visual Diary)

The Spirit of Play

What’s poppin’, people? It’s Dante.

Welcome to Street Photography Diary episode number 3, where we look at photographs I made recently with the Ricoh GR4 monochrome.

Today’s topic is finding yourself through photography and embracing the spirit of play.

The reason I say this is because the more I return to that childlike state, that sort of innocent state where you’re sensitive to life, the more photography becomes effortless.

You’re embracing the sights, the sounds, the smells of the street.

You’re looking up at the clouds and the way the light opens and thinking:

Wow, this is incredible. This is sublime.

When I started my day, I essentially woke up and made a frame.

The first thing I noticed was the beautiful clouds in the sky.

There’s something really special about monochrome photography and the way it unlocks novelty in the simplest scenes I photograph. A simple view from the window can become extraordinary through the camera.

Waking Up Like It’s Day One

When I think about the way I orient my day, I try to wake up like it’s day one again.

My goal as a photographer is to return to that childlike state of being.

Almost treating each night like a miniature death, and each morning like my first breath — like I’m a kid again.

From that state of being, photography becomes effortless.

When I’m in the spirit of play, when I wake up with this inner curiosity, I’m eager for the day. I’m enthusiastic.

And from that state, photography becomes a joy, not a chore.

Wandering Without Looking

When I walk the streets, I’m not looking for anything.

I’m simply wandering like a little kid who’s lost and trying to find his way through society.

And honestly, that’s the most innocent way I can describe it.

I never want to feel like I know everything.

You can sit and read books all day. You can stare at information on your screen and feel like you understand the world.

But in reality:

We’re just these little flesh creatures walking around who really don’t know anything.

When I photograph, I tap into that understanding.

That I am flesh.
That I cut.
That I bleed.
That I feel sorrow, pain, greed.
That I have desires.
That I am imperfect by design.

The Courage of a Child

Think about a child.

A child falls down, scrapes their knee, and gets back up endlessly.

There’s an inner courage there. An eagerness.

That spirited energy that pushes us out into the world to explore and try new things.

Photography becomes my way of evoking that feeling.

It’s how I express that inner childlike spirit when I’m on the street.

It’s not a serious chore where I put the photography hat on, wipe the lens, and go out to tell visual stories.

It’s simply a way to express myself openly and freely.

The Snapshot of Everyday Life

By embracing the snapshot, by simply bringing the camera with me to the places I inhabit during my day, I can more authentically express what I have to say.

It starts by emptying my mind.

Starting the day from a blank slate.

Then walking the streets with my camera — living life — and letting the photographs arise naturally.

On this particular day, I joined my sister-in-law’s nieces and nephews on a trip to the Franklin Institute.

Just photographing my everyday life.

And through those frames, I begin to discover myself.

The Personal Power of a Photograph

I made a photograph of a new family member — my brother recently got married — so I’m spending time with new family.

And there’s something powerful about photography.

On a subjective personal level, a photograph can resonate extremely deeply.

Sometimes it’s hard to explain exactly why.

But there’s a quality to images where ambiguity creates meaning.

When there’s no clear sense of place or time, the frame allows the mind to wander.

To ponder.

To ask questions.

And in that way, the photograph becomes a reflection of yourself.

The Boy Running Through the Heart

The photograph near the end of the slideshow resonates with me deeply.

It’s actually a very banal, simple photograph.

A boy running through the Heart sculpture at the Franklin Institute.

But the simplicity and ambiguity of that moment evoke something powerful.

I remember being a young boy myself, running through that same sculpture during school trips.

On this day, he was running through the sculpture over and over again — fast — trying to make it through the maze.

And I’m running behind him with the camera, trying to photograph him.

I must have run through that sculpture five times, chasing the moment.

Then suddenly the light glimmers across the scene.

The ripples in the shirt illuminate beautifully.

The textures around him come alive.

And that moment becomes something special.

Ambiguity and Emotion

What makes photography so joyful isn’t always the subject itself.

It’s the feeling that comes back to you later when you look at the photograph.

The ambiguity.

The mystery.

The emotional resonance.

Photography as Self-Discovery

By treating photography as a visual diary, by simply photographing your life and bringing the camera along for the ride, you begin to discover who you are through the frames you make.

When I look at that photograph:

I see myself.

As much as I’m photographing the external world, I believe the images become a reflection of my internal state.

The way I feel.

The way I perceive life.

And maybe photography is less about what’s in the frame…

and more about how you’re framed within it.

Just Play

When you photograph loosely, when you simply play and stop taking the process so seriously, something interesting happens.

You start to photograph more honestly.

More authentically.

And to me, that’s the real joy of photography.

The mystery.

The feeling.

The discovery of yourself through the images you make.

Closing

With that being said — thank you for watching.

I also recently released Flux Volume 1, a small photo book of my work from 13 days of street photography in Tokyo.

It’s about 57 photographs across 100 pages.

If you’re curious, check that out — it’ll be the top link in the description.

There are also lots of resources on my website, including a free course on mastering layering in street photography and other guides.

And with that being said —

Thank you for watching.

Peace.

Invest time in wasting time

Ricoh GR Snap Focus Explained: Shoot Instinctively & Never Miss a Street Photo Again

Stop Hesitating. Start Shooting.

What’s poppin’, people? It’s Dante.

Today we’re diving into the Ricoh GR’s Snap Focus system.

If you’ve ever missed a shot on the street, it may be because your autofocus is too slow… or you’re hesitating.

As you can see in the behind-the-scenes of me dancing underneath the Coney Island Pier in New York City — I’ve got a speaker in my hand from a local, and my Ricoh is just hanging on the wrist strap.

I’m not thinking.
I’m not hesitating.

I’m just living my life — with the camera along for the ride.

And when the moment unfolds… I’m ready.

I put the speaker down, grab the camera with one hand, and point and shoot.

The Setup

I have my camera set to:

• AV mode (aperture priority)
• f/8
• Snap Focus at 2 meters

So when something happens, I don’t need to think.

All I do is respond to instinct.

That’s what I want to cultivate on the street — instinct.

Why Snap Focus Matters

Street photography is unpredictable.

There’s movement. Energy. Spontaneity.

And if you’re fumbling with your camera… you’re going to miss it.

Autofocus is too slow.
Snap Focus gives you speed.

At 2 meters and f/8:

• Foreground → in focus
• Midground → in focus
• Background → in focus

Everything is covered.

Now I can focus on the moment — not the camera.

Hesitation kills photos.

What Is Snap Focus?

Snap Focus is simple:

It’s a preset focus distance with no autofocus delay.

You turn the camera on → point → shoot.

Instant shutter response.

No hunting. No lag. No missed moments.

You’re no longer reacting — you’re anticipating.

How It Works

You set:

• A focus distance (I use 2 meters)
• An aperture to create depth of field

That creates a zone of focus.

My default setup on the Ricoh GR:

• Snap Focus: 2 meters
• Aperture: f/8
• Mode: AV (aperture priority)

With this setup:

Everything from arm’s length to infinity is basically in focus.

Shoot From the Body

Now I don’t think about focus.

I think about where I stand.

I step into the scene — and shoot.

That’s it.

Moments like this boy playing on the sidewalk…
Juxtaposed with someone in the background…

These happen in a fraction of a second.

Autofocus? Too slow.

Snap Focus? Ready.

Practice This

Pick one distance.

Go outside.

Shoot 100 frames.

If you’re using:

Ricoh GR III / GR IV (28mm):

• f/8
• Snap Focus: 2 meters

Ricoh GR IIIx (40mm):

• f/9
• Snap Focus: 3.5 meters

Then just walk around and point and shoot.

Stop Thinking

When you see something…

Just click the damn shutter.

Don’t worry about:

• Settings
• Focus
• Technical perfection

That stuff gets in the way.

Snap Focus removes all of it.

The Core Idea

At the moment you click the shutter:

You are only responsible for:

• Your position in space
• Your relationship to the scene
• Your instinct

That’s it.

Final Thoughts

Snap Focus is one of the most innovative features in any camera system for street photography.

It gives you:

• Freedom
• Speed
• Intuition

You can literally shoot one-handed — point and shoot.

No hesitation.

No delay.

Trust your body. Trust your instinct.

Stop thinking.

Start shooting.

Peace.

Ricoh GR Monochrome Street Photography Diary #2 — Process, Instinct & Flow

What’s poppin’, people? It’s Dante.

Today we’re going to be discussing my process with the Ricoh GR4 monochrome in today’s Street Photography Diary entry number two. I’ll be looking at photographs with you, discussing my philosophy, technique, and the way that I hit the streets.

If you’re new to the channel, I’ve been photographing for the past decade all throughout the world on the front lines of life.

Here I have my prototype for a book I put together of my work in color. This photograph was made outside in my village in Zambia, Africa when I was a Peace Corps volunteer. I’ve got photographs from all over the world — from conflict situations in Jericho to the mountaintops of Mexico City and everywhere in between.

I went out in the world with my camera as a way to explore, as a way to express my courage and follow my curiosity as a young photographer learning this craft.

I learned the hard way and the long way.

And honestly, I’m thankful for that.

It increased my ability to make strong photographs.

But now going forward, my goal is longevity. I want to last consistently making photographs.

From Hunting Photographs to Practicing Photography

I’m no longer on the hunt for the next best scene or thing to photograph.

With this monochrome process, photography has essentially become a solution for practicing daily.

The reason I use a monochrome camera with JPEG settings and a streamlined workflow is simple:

Photography becomes inevitable.

The joy and the goal are found within the process itself — walking, observing, and responding with my camera.

Not hunting.

Not striving.

Not searching for interesting frames.

The mindset shift of being detached from the outcome is one of the most important things a photographer must face.

Photography requires enormous amounts of time in the world before you come home with anything interesting.

This book has around 63 frames from seven years.

There were days and months where not a single interesting frame was made.

It took a long time to synthesize content with light, timing, and the visual power needed for strong photographs.

And honestly, a lot of the superfluous things about photography get in the way of enjoying the process.

Yes, composition matters.

Yes, you should know how to make a strong frame.

But instinct is where your style is born.

Your Vision vs Social Media Photography

When you look online — Instagram, social media — you may get inspired by trends or the way other photographers shoot.

But most of what you see online is junk.

Those photographs are designed to be looked at for one second on a phone screen.

That kind of imagery can actually get in the way of finding your authentic expression.

I purposely disconnected from that world.

And since photographing in my own space, I’m discovering the way that I truly feel and see life.

My vision is consistent across my work.

But color, black and white, or aesthetics have nothing to do with expression.

Your perspective is what matters.

Forget Photography

The goal is actually to forget photography.

Remove the identity.

Remove the ego of being “a photographer.”

Stop walking around with a camera on your neck trying to make a great frame.

Instead:

Follow the light and fall in love with life.

My philosophy is about returning to the sunrise every day with enthusiasm.

Photography becomes play.

Not something serious.

Not something heavy.

Just curiosity.

By creating constraints — monochrome, automatic settings, a simple black box — I cultivate instinct.

Photography becomes a natural part of everyday life.

I’m not burdened by outcomes.

I’m just enjoying the day.

Photograph From Your Childlike Curiosity

If I could give advice to photographers looking for improvement or inspiration, it would be this:

Disconnect from contemporary photography.

Delete Instagram.

Photograph your everyday life.

Your walk to work.
Walking your dog.
Your neighborhood.

Photograph the way you experience life.

Go out and photograph from your pure, childlike, innocent curiosity.

That’s where your style will emerge.

Don’t worry about the outcome.

Instead, cultivate a body that wakes up full of energy.

Get good sleep.

Wear good shoes.

Build a strong body.

Photography Is Physical

I personally wear barefoot shoes like:

• Vibram FiveFingers
• Vivobarefoot Primus Lite All Weather

Having strong feet and a strong body changes everything.

When your physiology is strong, enthusiasm follows.

And when you’re enthusiastic about life, photography becomes inevitable.

Your internal state — courage, curiosity, intuition — begins to guide your photographs.

Why I Photograph in Monochrome

Photographing in monochrome gives me infinite possibility.

Everything comes down to following the light.

Light is always changing.

You can stand on the same corner every day and never make the same photograph twice.

That idea keeps me curious.

I’m not thinking about photography.

I’m curious about how life renders onto the sensor.

Monochrome strips away technical distractions.

It pushes me into a flow state.

And when I come home to review the photographs, I’m curious about what I captured.

That curiosity keeps me practicing daily.

Photography Has Nothing to Do With Photography

Photography actually has nothing to do with photography.

It has everything to do with how you engage with humanity.

When I enter a space with my camera:

I’m present.

I’m grounded.

I’m observing light and patterns.

I’m smiling.

I’m engaging with people.

Photography becomes a reflection of how much you love life.

Train Your Body Like an Athlete

Behind me I have a full home gym.

I recommend dumbbells, barbells, anything.

Photography is physical.

I treat it like a sport.

Lifting, walking, staying strong — it absolutely influences my photography.

All the frames I make stem from courage and physical energy.

You’re not going to make photographs sitting on the sidelines scrolling Instagram.

You have to wake up and seize the day.

And when you live like that:

Photography becomes effortless.

Flow becomes inevitable.

A Crazy Day in Philadelphia

Today in Philadelphia was a crazy day.

There was a fire in the subway system.

Transportation shut down.

The entire city was backed up.

People were stuck on the streets trying to get home.

There were fights, police, firefighters — chaos everywhere.

But honestly, the photographs I made still came from instinct.

Shooting With the Ricoh GR

The Ricoh allows you to move seamlessly through scenes.

You can shoot from the hip.

Hold the camera by your waist and just click the shutter.

Your instinct tells you where to stand and when to shoot.

You don’t have to overthink composition.

For my practice, that’s the goal:

I don’t want to think. I want to respond.

If you’re curious about the work, check out Flux Volume 1 — the link is in the description.

And with that, thanks for watching.

I’ll see you in the next one.

Peace.