Flux Photobook Breakdown: My Tokyo Visual Diary

Yo, what’s poppin’, people? It’s Dante.

Today I want to share with you behind the scenes of my Flux series that I’m producing using Blurb. These are trade books — 5×8 softcover — printed on black and white paper that feels closer to actual text paper, like something you’d find in a Penguin Classics book.

And that’s intentional.

The philosophy of Flux comes directly from Heraclitus.

“You cannot step in the same river twice.”

Everything is changing. Everything is in motion. Everything is in flux.

The Philosophy Behind Flux

We are changing constantly — biologically, mentally, spiritually.

Cells regenerating. Muscles growing. Time moving forward.

Closer to death.

That idea unlocked something for me:

You cannot make the same photograph twice.

Light is always changing. Life is always changing. The street is always changing.

And that creates endless curiosity.

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The Visual Diary Approach

This work comes from a visual diary mindset.

And when I say I don’t take photography “seriously,” I mean:

• No rigid project
• No predefined theme
• No forced narrative

I’m just documenting what I encounter.

A stream of becoming. Making new photographs every day.

The goal is to stay in a perpetual flow state.

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Why Tokyo?

Flux Volume 1 was born in Tokyo.

I spent 13 days there with no expectations. No plan. Just a hotel in Shinjuku.

That’s it.

I brought two cameras:

• Ricoh GR III
• Ricoh GR IIIx

And that compact, pocketable system changed everything.

It allowed me to photograph my everyday life — naturally, intimately, honestly.

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The First Spark: Faces in the Light

One of the first things that struck me was the faces.

At Shinjuku Station, people emerging from light.

I noticed a sliver of light hitting a face in one frame — and that became a thread.

Faces in the light.

That idea carried the entire book.

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Sequencing the Story

The story wasn’t planned. It emerged in review.

I began to see patterns:

• Faces
• Light and shadow
• Real vs artificial faces
• Isolation within chaos

Eventually, two characters appeared:

• The boy
• The girl

And I started weaving a subtle dialogue between them.

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Building Visual Rhythm

The sequence moves like this:

• Abstract introduction (hand holding a book)
• Architecture and space
• Faces emerging
• Chaos of Shinjuku
• Intimate moments

The story is built through repetition and variation.

The boy appears. Then the girl. Then both.

A rhythm forms.

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Technique: Light, Compression, and Chaos

One image in particular pushed me:

Using the Ricoh GR IIIx (71mm crop), I positioned myself with the sun behind me.

I compressed the scene.

And in one spontaneous frame:

• A face partially hidden
• Another face revealed behind
• Layers of ambiguity

Spontaneity guided by intention.

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The Paper Matters

The black and white paper is not perfect.

• Blacks aren’t fully rich
• You see streaks
• The texture is raw

But that’s the point.

It feels like a diary.

The imperfections enhance the emotion.

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Entering the Night

As the book progresses, we move into nighttime Shinjuku.

Here I experimented with:

• Slow shutter speeds
• Motion blur
• Ghost-like figures

The ghosts of Shinjuku.

Energy. Chaos. Movement.

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Details of Masculine and Feminine

I started isolating details:

• Lips
• Cigarettes
• Fingernails
• Piercings

Breaking the human form into fragments.

Still maintaining that dialogue between masculine and feminine.

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Abstraction and Emotion

As the sequence continues:

• Images become more abstract
• More emotional
• Less literal

It’s no longer about composition.

It’s about feeling.

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Closing the Loop

The book ends where it began:

The boy and the girl.

Together again.

A quiet, intimate resolution.

A full circle.

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Final Thoughts

Flux is not just a photobook.

It’s a system.

A way of living.

A way of seeing.

Photography as a daily act of awareness.

That’s pretty much all I have to say about this work.

Appreciate you for being here.

Peace.

A growing collection of street photography guides, visual archives, books, and raw knowledge — all 100% open source.

These e-books are free to download, remix, share, and learn from.
No paywalls. No permission needed. Just keep the spirit alive.

The Unedited Frames Behind the Frame

A decade of photographs. 11 full contact sheets from shoots in Baltimore, Jericho, Zambia, and more — paired with real stories and lessons on intuition, composition, courage, and storytelling.

“Don’t leave the scene until the scene leaves you.”

Depth, Presence, and the Visual Puzzle

This guide breaks down layering as both a visual technique and a way of being present in the world. Featuring real-world examples, behind-the-scenes GoPro POVs, and field philosophy.

Patience. Presence. Position.

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Settings, Techniques & Workflow

Camera setup. Snap focus. Tourist technique. Composition on the fly. Workflow from camera to blog. Everything you need to master the Ricoh GR as a street weapon — no editing required.

“Your next photo is your best photo.”

Photographs from 2016-2022

300 images and contact sheets made across Baltimore, Philadelphia, Israel, Napoli, Zambia, Mumbai, Mexico City, and Hanoi emerging from a practice rooted in walking, observing, and responding to the world in real time. JPEGS, RAW Files, and Metadata: https://archive.dantesisofo.com/

“Photographs are made on the frontlines of life.”

FLUX Vol. I

57 photographs made over thirteen days in Shinjuku, Harajuku, and Shibuya — marking the moment a decade of photographing and years of working in monochrome converged into a unified vision. Shot on a Ricoh GR in high-contrast black and white, embracing instinct, motion, and the fleeting rhythm of everyday life.

You cannot make the same photograph twice.

FLUX Vol. II

55 photographs marking the beginning of a transformation — the first months of working in black and white, and the origin of a daily photographic practice rooted in observation, instinct, and repetition. A chronological visual diary where photographing becomes inseparable from living.

The photograph becomes the act of living.

FLUX Vol. III

52 photographs made across Philadelphia, New York City, and Costa Rica — marking an expansion of the practice as it moves through new environments, rhythms, and experiences. A continuation of the transformation, grounded in walking, observing, and responding to the world in motion.

To walk is to see. To see is to respond.

FLUX Vol. IV

54 photographs marking a return — a deeply personal body of work shaped by identity, heritage, and faith. Made in and around churches, where photographing merges with reflection, stillness, and a search for meaning.

In stillness, the light reveals something deeper.

Flux Archive I

218 photographs across 400+ pages, bringing together Flux Vol. I–IV into a single continuous visual diary. A chronological record of a daily photographic practice — tracing its beginning, expansion across places, and return inward toward identity, memory, and faith.

A document of attention. A document of presence.

Matthew 6:19–23

Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal:

But lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal:

For where your treasure is, there will your heart be also.

The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light.

But if thine eye be evil, thy whole body shall be full of darkness…

I Almost Quit Photography… Then I Changed Everything

What’s poppin’, people? It’s Dante.

I’m currently walking around Old City Philadelphia, and I’ve been thinking about a time when I wanted to quit photography.

So let me tell you a quick story.

When Photography Became Boring

In November of 2022, I was photographing in Hanoi, Vietnam.

And every day, I’d put the camera around my neck, go into these bustling markets, and try to make my next best photo.

But something strange started happening.

The process became tedious, repetitive… and honestly, boring.

I’d show up.
Find a strong composition.
Wait for something interesting.
Capture the chaos.

Repeat.

And even though I could make strong images… it just felt empty.

“If your goal is just to make great photos, eventually you will stagnate.”

That realization hit hard.

The Problem With Chasing “Great Photos”

If you’re going out into the streets trying to make something visually impressive, something technically strong…

It’s only a matter of time before you start asking:

Why am I doing this?

I had traveled everywhere chasing images:

• Front lines of conflict
• Baptisms and funerals
• Villages
• The pipelines of Mumbai

And still…

That question came back: why?

If your goal is just output — yeah, you can make great photos.

But if your goal is:

• More curiosity
• More joy
• A sustainable creative life

Then you might need to rethink everything.

The Pivot

When I got back from that trip, I made a decision.

I sold my Fujifilm gear.

And I picked up the Ricoh GR again — the same camera that got me into street photography back in 2015.

I grabbed my old GR II from the closet.

Went to the skate park.

Started snapshotting.

Experimenting.

Trying something completely different.

That moment changed everything.

Removing the Identity of “Photographer”

Since November 2022… now it’s April 2026.

Three and a half years deep.

And I’ve never photographed this much in my life.

Why?

Because I stopped being a “photographer.”

I removed:

• The camera decisions
• The lens choices
• Color vs black and white debates
• Composition overthinking
• Judging whether a photo is “good” or “bad”

And instead…

I just surrendered to the act of photography.

The Constraint That Set Me Free

I gave myself an extreme creative constraint:

• Ricoh GR
• JPEG only
• High contrast black and white
• No editing
• No post-processing

Everything is baked in.

From shutter click → to culling → to printing.

Complete.

“All I’m left with now is my pure instinct.”

No sliders.
No gray areas.
No hesitation.

Just:

• My eyes
• My legs
• My instinct

Frictionless Photography

Once you remove friction…

Photography becomes effortless.

And when it becomes effortless…

You enter flow.

Now I’m photographing:

• Details
• Buildings
• People
• Nature
• Landscapes

Not just chasing “strong compositions.”

Not chasing “impact.”

Just exploring.

Breaking Out of the Box

Before, I was stuck.

I had the ability to make strong images — but that became a trap.

I was pigeonholed into one way of seeing.

And that way of seeing became predictable.

Repetitive.

Dead.

So I pivoted.

And built an entirely new practice.

A New Way Forward

Now, I live by one idea:

“My next photograph is my best photograph.”

I’m not thinking about yesterday.

I’m not chasing tomorrow.

I just don’t want to stop.

Ever.

The System

This whole shift became a system.

A way of working.

A rhythm.

A visual diary.

And I built a program around it.

Because if you adopt this constraint for 30 days:

I guarantee you will make something.

Something that is:

• Authentically yours
• Personal
• Honest

And you’ll turn it into a book.

Not just photos.

A body of work.

Final Thought

Photography isn’t about making great images.

It’s about building a life where you never stop photographing.

And the moment it becomes frictionless…

It becomes something you can actually sustain.

That’s my story.

That’s how I almost quit.

And why I never will again.

Thanks for watching.

Peace.

How to Create Your Own World in Street Photography

What’s poppin’, people? It’s Dante.

Today I wanna discuss world creation in street photography and how we can essentially create our own world.

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The Camera Interprets Reality

As photographers, we’re walking through the world, responding to instinct. We see with our eyes and feel with our gut—but it’s ultimately the camera that interprets reality.

So when you make a photograph, ask yourself:

What will reality manifest to be in a photograph today?

At the end of the day, I’m just curious how light and life will render on my camera sensor.

Because yeah—I see the world with my eyes. But the final image?

That’s what the camera sees.

And that thought alone has been fueling my curiosity like crazy.

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Follow the Light

A practical way I create a new world is simple:

I follow the light.

I’m obsessed with how light hits surfaces, people, places—everything.

When you focus on light as your subject, everything else becomes abstract.

• Crush the shadows
• Expose for the highlights

Now you’re not documenting—you’re extracting fragments.

A face becomes partial.
A moment becomes ambiguous.
Reality becomes yours.

There’s something about ambiguity and deep black space that elevates the mundane.

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Embracing Chaos (Technical Approach)

Lately, I’ve been experimenting with the Ricoh GR IIIx:

• Crop mode → 71mm
• Snap focus → 1 meter
• Shooting in low light

Settings:

• Shutter speed: 1/4 or 1/8 second
• Aperture: f/5.6

I’m not panning. I’m not forcing motion.

But the environment?

Pure chaos.

And that chaos creates blur naturally.

So I’m walking this line between:

• What I can control (settings)
• What I can’t (how light renders)

And that’s where the magic happens.

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The Beauty of Imperfection

When I review my images, I’m not chasing perfection.

I’m chasing surprise.

The mistakes. The imperfections. That’s what I’m drawn to.

Because the photograph is always unexpected.

You experience life fully—color, sound, smell.

But the image?

It’s something else entirely.

And that gap between experience and result…

That’s where curiosity lives.

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Street Photography as Creation

Yeah, I still shoot candidly.

But I don’t see street photography as pure documentation anymore.

I see it as world creation.

Taking fragments of your day and building something personal.

Something subjective.

Something that reflects your inner world.

Not what life is—but what life could be.

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Elevating the Mundane

My philosophy is simple:

Embrace the mundane—and elevate it.

A normal walk.
A normal street.
A normal moment.

But through light, timing, and interpretation…

You transform it.

And the key that unlocked this for me?

Light is always changing.

So even if you walk the same street every day:

You’ll never make the same photograph twice.

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Returning to the Same Place

There’s this portal in Center City Philadelphia I pass every day.

Tourists stop. They look. They engage.

You can literally see into another city.

I think in this frame—it was Dublin.

I kept going back. Again and again.

Nothing interesting.

Until one day—

A woman. A child. A glance back.

And the portal was mid-load.

Just this strange, incomplete window into another world.

That ambiguity?

That’s everything I’m chasing.

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Why Black & White Works

High contrast black and white strips reality down.

It removes the literal.

It pushes emotion forward.

You’re no longer seeing the world as it is—

You’re feeling it.

Mystery. Emotion. Suggestion over explanation.

And those frames?

They’re rare.

But they come through consistency.

Through showing up every day.

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Final Thought

We all have the ability to create our own version of reality.

Photography isn’t just documentation.

It’s transformation.

So think about this:

It’s not what you see—it’s how the camera sees.

And how you choose to use that…

That’s your superpower.

Go out there and create your world.

Peace.

40mm vs 28mm for Street Photography (It Doesn’t Matter)

What’s poppin’, people? It’s Dante.

Currently on the streets of Philadelphia with the Ricoh GR IIIx, photographing today with the 40mm—and I just have some thoughts about using this particular focal length for street photography.

Focal Length Doesn’t Matter

I think I need to start off by saying this:

I don’t believe focal length is as important as it seems.

Photography is a physical act.

It’s you moving your body in relationship to moments—and recognizing your instinct to click the shutter.

That’s it.

It’s About Your Body, Not Your Lens

For example, I just saw a man reaching down to pick something up.

At the same time, someone with a cast on his arm was walking toward me.

So what did I do?

I positioned my body to relate the foreground to the background.

Maybe there’s overlap. Maybe it’s imperfect.

That’s fine.

Composition isn’t technical—it’s physical.

It’s your feet.

It’s your positioning.

It’s how you move through the world.

What Makes 40mm Different

Now with the 40mm—it does require a bit more precision.

You have to be more intentional with your positioning.

More aware of relationships in the frame.

I think it lends itself well to:

• Layering
• Cleaner separation
• More controlled compositions

The compression helps you organize the frame a bit more.

You can be more deliberate with your background.

But Instinct Still Leads

Even with that…

I’m not really thinking about composition.

Lately, I’m just drawn to light.

I’m curious about how the camera sees the world.

I don’t think—I respond.

The less you think, the more interesting your photos become.

28mm vs 40mm (The Real Truth)

Traditionally, 28mm is the classic street photography lens.

You look at someone like Garry Winogrand—chaotic, energetic frames, distortion, lots happening.

And yeah, the focal length contributes to that.

But here’s the thing:

You can still create that same energy with a 40mm.

It’s not about the lens.

It’s about:

• where you are
• what’s happening
• how you respond

If you’re in the right environment, you can make spontaneous, energetic images with anything.

The 40mm Crop Trick (40 → 71mm)

One thing I’ve been experimenting with:

Using the built-in crop mode on the GR IIIx.

I mapped it to the movie button, so I can jump from 40mm to 71mm instantly.

And honestly—it’s kind of wild.

It lets me:

• get close without being physically close
• isolate faces
• focus on small gestures and details

You can capture really intimate moments without disrupting the scene.

Embracing Imperfection

When I crop in like that, things get weird.

Strange compositions.

Hands cut off. Tight framing.

But I like that.

I’m shooting JPEG, high contrast, just letting go.

Not worrying about image quality.

Not trying to be perfect.

Just embracing the imperfections of the practice.

What Actually Matters

For the longest time, I thought I preferred 28mm.

It’s more versatile.

But honestly?

Just run with what you’ve got.

Because what actually matters is this:

Your instinct.

And instinct only comes from:

• consistency
• repetition
• daily practice

Final Thought

If you’re out on the street every day, shooting…

The focal length doesn’t matter.

That’s the truth.

A lot of photographers overthink this decision.

Camera. Lens. Setup.

But the real path?

One camera. One lens. Shoot every day.

That’s how you build instinct.

Right now, I’m just experimenting. Pushing myself.

Trying new things—like the crop mode.

Keeping it fun. Keeping it fresh.

But at the core?

It’s still the same thing.

Move. Observe. Respond.

That’s it.

See you in the next one.

Peace.

Flux — The Photographic Diary Series

Flux is an ongoing series of photographic diaries.

Each volume is available as a free PDF download and flip-through video—open for anyone to experience.

For those who want the physical objects, the books are available to purchase individually.

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Members of Living With the Ricoh GR get access to all Flux books at production cost as part of the practice.

Log in to access the Flux books

Flux — Archive I

A photographic diary by Dante Sisofo

View / Purchase the Book

Members of Living With the Ricoh GR get access to all Flux books at production cost as part of the practice.

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The Photographic Diary System — Archive One

Flux Archive I brings together Flux Vol. I–IV into a single unified body of work, preserving the exact sequence of each volume as originally created.

Spanning over 400 pages, the archive presents a collection of 218 photographs, each displayed as a full plate—one image per page—allowing the work to unfold as a continuous, uninterrupted visual diary

This archive documents a defined period of time: November 2022 – September 2023.

This is not a “best of,” but a faithful record. Every photograph remains in its original chronological order, tracing the development of a daily photographic practice—from its beginnings, through expansion across cities and continents, to a return inward toward identity, memory, and faith.

Together, the four volumes form a complete cycle:
Beginning. Foundation. Expansion. Return.

At the heart of Flux is a simple idea: you cannot make the same photograph twice. Light is always shifting—across bodies, streets, and time—reshaping the world from one moment to the next.

Through daily practice, these moments accumulate into a continuous visual record.

The work that follows—including photographs made in Tokyo in 2025—marks the point where this vision fully comes together. This archive captures its formation.

A document of attention.
A document of presence.
A document of life in flux.

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FLUX Vol. I

FLUX Vol. II

FLUX Vol. III

FLUX Vol. IV

Before I stripped everything down to black & white, this is how I saw.

My Daily Photo Culling Workflow (Fast, Simple, No Lightroom)

What’s poppin’, people? It’s Dante.

Today I want to share my extremely fast workflow for culling through photos with my street photography.

The Setup

I shoot with the Ricoh GR in high contrast black and white, small JPEGs.

Each file:

• ~7 megapixels
• ~4 MB

This is a radical workflow.

No processing. No RAW backlog. Everything imports instantly.

The 3-Tier System

I keep it simple:

• Day folder
• Monthly selections
• Yearly archive

That’s it.

Everything stays organized without overcomplicating things.

Culling Fast (The Real Process)

I had about 568 frames from today.

Here’s how I go through them:

• 3×3 grid view
• Scroll fast
• Tap anything that stands out
• Move on

No hesitation.

No overthinking.

If something hits, I keep it. If not, I keep moving.

Most photos?

They’re trash.

And that’s fine.

Embracing Imperfection

Street photography is messy.

You fail constantly.

That’s part of it.

The more you shoot, the more you refine your instinct.

That’s why I keep everything transparent—my whole archive is public.

Because this process isn’t about perfection.

It’s about repetition.

Why I Don’t Use Lightroom

I don’t want friction.

I don’t want to sit there tweaking sliders.

I don’t want a backlog.

I want to:

• shoot
• review
• publish
• repeat

Every single day.

Daily Publishing = Discipline

One rule I follow:

I always publish the photos on the same day I shoot them.

No exceptions.

That keeps me:

• accountable
• consistent
• moving forward

Because once you fall behind…

It becomes a chore.

The iPad Workflow

I do everything on the iPad.

It’s fast. It’s tactile. It’s intuitive.

• Tap
• pinch
• zoom
• move

That’s it.

Honestly, any iPad works.

The point is simplicity.

Second Cull (Favorites → Monthly)

After favorites, I go back through and drag selects into the monthly folder.

Still fast. Still intuitive.

This is just:

• refining duplicates
• picking stronger variations

No overthinking.

The ChatGPT Trick

If I have two similar frames?

I’ll literally send them to ChatGPT and let it choose.

It’s just a photo.

I’m not sitting there debating forever.

Remove friction.

Move on.

Final Selection (Loose + Open)

From there, I make a final selection.

Usually:

• 10–50 images

Loose.

Not precious.

Because this isn’t the final judgment.

It’s just:

a record of the day.

A visual diary.

The Real Philosophy

You don’t need to make the perfect photo today.

You just need to stay in motion.

Because sometimes…

You get one frame.

Sometimes none.

But that’s normal.

The Surprise Is the Reward

The real reason I love this workflow?

Surprise.

When I come home and look through the photos…

I see things I didn’t even notice in the moment.

The camera sees differently than I do.

That’s what keeps me curious.

Photography Isn’t What You Think

You’re not responsible for making a masterpiece.

You’re responsible for:

• moving your body
• staying curious
• showing up

The camera does the rest.

Final Thought

Photography, to me, is about curiosity.

Not outcomes.

Not perfection.

Just:

seeing how life looks when it’s photographed.

That’s it.

Shoot. Cull. Publish. Repeat.

See you in the next one.

Peace.

To use a rangefinder in 2026 is the equivalent of using a view camera when the Leica was invented.

The Leica is archaic when it is defended as though its limitations are superior, rather than just historically meaningful. There’s no problem in using it. The problem is the confusion between nostalgia with necessity.

The natural evolution of photography is towards the complete removal of the viewfinder altogether and the embrace of compact cameras and LCD technology

The rangefinder was revolutionary because it removed friction from photography, but in 2026 to treat it as the final form is to miss the point of its revolution. The true evolution of the medium is towards even more immediacy, smaller tools, and the eventual disappearance of the viewfinder itself.

Or even more simply put, the Leica was once the Ricoh of its age.

Treat your life as a living work of art

When you pigeon hold yourself and box yourself into a specific way of working on operating, you limit your ability to express yourself, authentically and creatively. So the forward way to move in this brave new world of technology, art, and photography, is to simply treat your life as the living work of art, an open book, an open diary

Radical authenticity

The most interesting way to create is from a very pure and autotelic state. So the goal is found within the process itself actually waking up with enthusiasm and making new pictures. The goal isn’t found in the outcome of a book or a show or something sort of tangible physical or even someone that gives you validation for the work that you’re making. You’re making the work because you purely are inspired to make the work.

Pure inspiration

One thing I find amusing is how photographers and artists generally like to find inspiration from other photographers or other artists. Whether looking at photo books are going to the gallery, to find something that’s inspiring, it’s all kind of baselevel to me. Pure inspiration is found in isolation, where there’s no noise, no chatter, just you, in nature.  the idea is, when alone in a park or in the woods or in nature, you receive pure inspiration by looking at the patterns of nature, observing the sunlight, feeling it on your skin, and listening to the sounds and feeling the grass beneath your feet, your signal is heightened, and you start to hear God speak. 

And so simply look at the etymology of words, specifically inspiration. It derive from the idea to breathe into, where God breathes the spiritedness into you and gives you the breath of life to then go out there and create, which gives you animation in the ability to speak to write to photograph to move. And so motivation, riving from “to move “simply comes from your legs and the movement of your physical body moving in space and time. And so while you’re composing life with the four corners around the compositions, you make, the only thing that you’re simply responsible for as a photographer is actually moving your physical body through the world , feeling deeply, and noticing things. And so when you put four corners around these fragments of life, you’re saying yes to life, and creating a photograph from this purely inspired state, were you detached from the outcome and an embracing the spirit play, becomes the pure form of self expression, a direct reflection of your internal state , while using the external world as your personal canvas.

Strong photographer, strong photographs

The way you move, speak, the things you create, and your physical body, are pure works of art. Art isn’t something with a capital A that only curator says is acceptable. Art, at its core and its essence, is merely an arrangement of reality. But the interesting way for it, it’s taking reality, and creating your own version of it, through arranging things in your own personal and subjective way, that gives birth to a new world. 

The other idea is that, the only art worth looking at or creating is from the pure state of vitality, from your physical body, because then, from that state of being, the things that you create,  are effortless, and flow from you, where your physical body simply becomes a vessel for the medium. Just look at the Work of Aaron Berger from New York City, it’s no wonder he’s produced the strongest contemporary Street photography from this location of the world, given the fact that he’s the most jacked Photographer that photographed the city 

Dante