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

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

Ricoh GR IV Monochrome — Street Photography Diary #3 (Play, SelfDownload

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.

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

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

Ricoh GR Snap Focus Explained Shoot Instinctively & Never Miss aDownload

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 IV Monochrome — Street Photography Diary #2

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

Ricoh GR IV Monochrome — Street Photography Diary #2Download

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.

ASKESIS

Askesis (Greek: ἄσκησις) means exercise, training, or discipline. It originally referred to the physical training of athletes but later evolved to describe spiritual or philosophical discipline—a practice of self-control and inner cultivation.

In the context of Stoicism, Cynicism, and Christian asceticism, askesis refers to the intentional practice of self-denial, simplicity, and mental fortitude aimed at achieving moral or spiritual excellence.

Think of it as:

Askesis = voluntary hardship for the sake of inner strength.

Examples:

  • A Stoic waking up at dawn to journal and reflect.
  • A monk fasting to purify the soul.
  • A philosopher walking barefoot to toughen his body and detach from luxury.

It’s training not for the body alone—but for the soul.

I. Foundational Health Philosophy

II. Daily Practice: Movement and Strength

III. Fueling the Body: Diet, Fasting, and Nutrition

IV. Health-Boosting Habits

V. Radical Lifestyle Choices

VI. Discipline & Physical Power

VII. Willpower, Focus & Warrior Ethos

VIII. Vitality, Light, and Natural Living

Flux Street Photography

Flux Street Photography ⚡️

What is Flux?

Flux is street photography as continuous becoming.

It is rooted in the idea that:

You cannot step into the same river twice.

Everything is changing:

  • Light
  • People
  • Movement
  • You

There is no repetition.
There is no fixed moment.

There is only flow.

Core Philosophy

Flux rejects the idea that photography is about capturing a perfect, frozen instant.

Instead:

  • Life is always moving
  • The photographer is always moving
  • The image is a fragment of that movement

The photograph is not a conclusion. It is a trace.

The Photographer’s Role

You are not a passive observer.

You are:

  • Walking
  • Seeing
  • Reacting
  • Responding

You are inside the scene, not outside of it.

To photograph is to participate.

Visual Language of Flux

Movement Over Stillness

  • Shooting while walking
  • Slight blur
  • Imperfect timing

The image breathes because it is alive.

Intuition Over Calculation

  • No overthinking
  • No rigid composition rules
  • Trusting instinct

The body reacts before the mind explains.

Imperfection as Truth

  • Missed focus
  • Crooked frames
  • Overlap and chaos

Perfection is artificial.

Imperfection is evidence of life.

Light as Force

  • High contrast
  • Harsh shadows
  • Blown highlights

Light is not balanced.

Light is aggressive, directional, alive.

The Camera as Extension

The camera is not separate from you.

It is:

  • An extension of the eye
  • An extension of the body
  • An extension of perception

No delay. No friction.

See → react → shoot

Technique (Practical Application)

1. Stay in Motion

  • Walk continuously
  • Avoid standing still too long
  • Let your movement influence the frame

2. Shoot Instinctively

  • No hesitation
  • No second-guessing
  • One gesture, one frame

3. Embrace Density

  • Crowds
  • Reflections
  • Layers

More complexity = more life.

4. Remove Friction

  • Small camera
  • Simple settings
  • JPEG workflow

The faster you can shoot, the closer you are to reality.

What Flux is NOT

  • Not perfection
  • Not staged
  • Not over-edited
  • Not slow, calculated photography

Flux is not about control.

Flux is about surrender.

The Deeper Meaning

Flux is not just photography.

It is a way of being:

  • Moving through the world with awareness
  • Trusting instinct
  • Embracing change
  • Letting go of control

Final Statement

You are not capturing life.

You are moving with it.

And every photograph is proof:

That you were there.
That you saw.
That you lived.

Futurist Street Photography

Futurist Street Photography ⚡️

Origins — What “Futurism” Means

Futurism began in early 20th-century Italy as a radical artistic movement that rejected the past and embraced the modern world.

It was obsessed with:

  • Speed
  • Movement
  • Energy
  • Machines and cities
  • The chaos of modern life

Futurist artists didn’t want to freeze a moment — they wanted to depict motion itself.

What This Means for Street Photography

Traditional street photography often emphasizes:

  • Clean compositions
  • Stillness
  • The “decisive moment”
  • Balance and geometry

A Futurist approach flips this completely:

  • Blur over sharpness
  • Movement over stillness
  • Chaos over order
  • Energy over perfection

You are no longer documenting reality.

You are translating velocity into an image.

Visual Language of Futurist Street Photography

Motion + Speed

  • Long exposures → ghosted figures
  • Panning → subject sharp, background streaking
  • Shooting while walking → natural motion blur

The subject is no longer the person.

The subject becomes time itself.

Fragmentation + Layers

  • Reflections in glass
  • Overlapping bodies and forms
  • Multiple exposures
  • Complex layered scenes

One frame is no longer one moment.

It becomes many moments colliding.

Light as Energy

  • Harsh sunlight and deep shadows
  • Neon lights and reflections
  • High contrast black and white

Light is no longer just illumination.

It becomes force — something active and aggressive in the frame.

How to Shoot Futurist Street Photography

1. Shoot Through Motion

  • Walk fast
  • Don’t stop to compose perfectly
  • Shoot mid-stride

Let the image inherit your movement.

2. Break the “Clean Shot” Instinct

  • Accept chaos
  • Let subjects overlap
  • Allow imperfections

Perfection kills energy.

3. Use Shutter Speed Creatively

  • Slight blur → 1/15 or 1/8
  • Freeze + chaos → fast shutter in busy scenes

Control how time appears in your frame.

4. Embrace Density

  • Crowds
  • Intersections
  • Reflections
  • Busy urban environments

The more happening, the better.

Philosophical Shift

Traditional:

“The decisive moment.”

Futurist:

There is no single moment. Only continuous becoming.

This aligns with the idea that reality is always in motion — never fixed.

The Deeper Idea

Futurist street photography is not about documenting the city.

It is about revealing:

  • The pulse of the city
  • The intensity of movement
  • The fragmentation of modern life

In Practice (Flux Alignment)

This approach aligns naturally with:

  • Instinctive shooting
  • Fast movement
  • Embracing imperfection
  • High-contrast black and white

Flux is lived Futurism.

Final Thought

You are not standing outside the world observing it.

You are inside the movement of life — photographing from within it.

The Complete Street Photography Course (Free)

Learn Street Photography

Start Here

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This page is your complete resource for learning street photography.

You’ll find free online courses, a full archive of my blog posts, and in-depth eBooks covering contact sheets, layering, and the Ricoh GR system.

Everything here is designed to help you see better, shoot more, and develop your own way of photographing the world.

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📚 Books by Dante Sisofo

A growing collection of street photography guides, visual archives, 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.

Contact Sheets

The Unedited Frames Behind the Frame
📥 Download PDF

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.”

Mastering Layering in Street Photography

Depth, Presence, and the Visual Puzzle
📥 Download PDF

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.

The Ultimate Ricoh GR Street Photography Guide

Settings, Techniques & Workflow
📥 Download PDF

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.”

  1. The Epic of Gilgamesh
  2. Homer – The Iliad
  3. Homer – The Odyssey
  4. Hesiod – Theogony and Works and Days
  5. The Bhagavad Gita
  6. The Dhammapada
  7. Lao Tzu – Tao Te Ching
  8. Confucius – The Analects
  9. Early Greek Philosophy
  10. Heraclitus – Fragments
  11. Sophocles – The Three Theban Plays
  12. Sappho – Stung with Love: Poems and Fragments
  13. Aeschylus – The Oresteia
  14. Euripides – Medea, Hecabe, Electra, and Heracles
  15. Aristophanes – Lysistrata and Other Plays
  16. Plato – Complete Works
  17. Aristotle – Poetics
  18. Aristotle – De Anima (On the Soul)
  19. Aristotle – The Metaphysics
  20. Aristotle – The Politics
  21. Aristotle – The Nicomachean Ethics
  22. Epicurus – Letters, Principal Doctrines, Vatican Sayings, and Fragments
  23. Xenophon – The Economist
  24. Publius Syrus – The Moral Sayings of A Roman Slave
  25. Ovid – Metamorphoses
  26. Virgil – The Aeneid
  27. Plutarch – Essays
  28. Plutarch – On Sparta
  29. Marcus Aurelius – Meditations
  30. Seneca – Letters from a Stoic
  31. Epictetus – Discourses and Selected Writings
  32. Horace and Persius – Satires and Epistles
  33. Dante Alighieri – The Divine Comedy and Vita Nuova
  34. Saint Augustine – City of God
  35. Teresa of Ávila – The Interior Castle
  36. St. John of the Cross – The Dark Night of the Soul
  37. Goethe – Faust
  38. John Milton – Paradise Lost
  39. Friedrich Nietzsche – The Will to Power
  40. Friedrich Nietzsche – Human, All Too Human
  41. Friedrich Nietzsche – The Philosophy in the Tragic Age of the Greeks
  42. Friedrich Nietzsche – The Birth of Tragedy and The Case of Wagner
  43. Friedrich Nietzsche – The Gay Science
  44. Friedrich Nietzsche – Thus Spoke Zarathustra
  45. Friedrich Nietzsche – Beyond Good and Evil
  46. Friedrich Nietzsche – On the Genealogy of Morals and Ecce Homo
  47. Friedrich Nietzsche – Twilight of the Idols and The Anti-Christ
  48. Friedrich Nietzsche – On Truth and Untruth
  49. George Orwell – 1984
  50. Aldous Huxley – Brave New World
  51. Diogenes – The Dangerous Life and Ideas of Diogenes the Cynic
  52. Yukio Mishima – Sun and Steel
  53. Henri Cartier-Bresson – The Mind’s Eye: Writings on Photography and Photographers
  54. Søren Kierkegaard – Fear and Trembling
  55. Søren Kierkegaard – The Sickness Unto Death
  56. Śrī K. Pattabhi Jois – Aṣṭāṅga Yoga
  57. Daido Moriyama – How I Take Photographs
  58. Fyodor Dostoevsky – Notes from Underground
  59. Leo Tolstoy – The Kingdom of God Is Within You
  60. Saifedean Ammous – The Bitcoin Standard
  61. Saifedean Ammous – The Fiat Standard
  62. Saifedean Ammous – Principles of Economics
  63. Matthew Lysiak – Fiat Food
  64. Shawn Baker – The Carnivore Diet
  65. Shunryu Suzuki – Zen Mind, Beginner’s Mind
  66. Lucretius — The Nature of Things
  67. Plotinus – The Enneads
  68. Meister Eckhart – Selected Writings
  69. Pseudo-Dionysius the Areopagite – The Complete Works

Photo Books

  1. Eugene Atget – The World of Atget
  2. Walker Evans – American Photographs
  3. Walker Evans – Subways and Streets
  4. Henri Cartier-Bresson – Photographer
  5. Robert Frank – The Americans
  6. Ray K. Metzker – City Lux
  7. Ray Metzker – Monograph
  8. Ray Metzker – Sand Creatures
  9. Ray Metzker – Unknown Territory
  10. Ray Metzker – Light Lines
  11. Josef Koudelka – Gypsies
  12. Josef Koudelka – Exiles
  13. Helen Levitt – One, Two, Three, More
  14. Susan Meiselas – Nicaragua
  15. William Klein – Celebration
  16. Tod Papageorge – Passing Through Eden
  17. Bruce Davidson – Subway
  18. Bruce Gilden – Haiti
  19. Larry Towell – The Mennonites
  20. Frank Horvat – Side Walk
  21. Daido Moriyama: The Complete Works
  22. Daido Moriyama – Dear Mr. Niépce
  23. Daido Moriyama – Phaidon
  24. Daido Moriyama – Record
  25. Daido Moriyama – Record 2
  26. Daido Moriyama – Quartet
  27. Vivian Maier – Retrospective
  28. Jason Eskenazi – Wonderland
  29. Mark Cohen – Grim Street
  30. Mark Cohen – Frame
  31. Alex Webb – Istanbul, City of a Hundred Names
  32. Alex Webb – The Suffering of Light
  33. Alex Webb – La Calle
  34. Alex Webb – Brooklyn, The City Within
  35. Women Street Photographers
  36. Magnum Streetwise
  37. Reclaim the Street
  38. Harry Gruyaert – Between Worlds
  39. Raúl Cañibano – Absolut Cuba
  40. Sam Ferris – In Visible Light
  41. Daniel Arnold – Pickpocket
  42. Brian Karlsson – Book
  43. Gianni Berengo Gardin
  44. Trent Parke – Monument
  45. Public Ledger
  46. PROVOKE | Provocative Materials for Thought (The Full Archive)
  47. Shomei Tomatsu – Flowers of Vermilion Seaweed Okinawa Diary
  48. The Anger of the Sovereign People – Anpo Protest

My Street Photography Blog Archive

A structured navigation of all posts.

Start Here

Mindset & Philosophy

Composition & Seeing

Field Techniques

Workflow & Gear

Breakdowns

Advanced / Mastery

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