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.
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.
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.
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 📥 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.
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.
Today we’re going to be discussing the Ricoh GR IV Monochrome’s red filter.
We’ll talk about:
what the red filter does
how it works mechanically
why it matters for black and white photography
and look at some before and after examples to see how impactful it really is.
The Ricoh GR IV Monochrome has a physical red filter built into the lens that darkens blue light, increases contrast, and interacts directly with the monochrome sensor to produce stronger black and white tones straight out of camera.
You can see me turning it on here. I actually have the video button on the side of the camera set so that when I hold it down, it toggles the red filter on and off.
Honestly, this is extremely clutch and really innovative.
The Immediate Impact
When I’m out on the street using it, the first thing I notice is how dark the sky becomes.
With the monochrome sensor and the built-in red filter, blue skies suddenly turn deep black. The contrast becomes dramatic, and it changes the entire feel of the photograph.
The red filter is blocking blue light and allowing red light to pass.
That means it’s changing the tonal relationships in black and white photography.
And the effect is honestly insane.
Look at the result of this photo — the dark blue sky and the dark water with the reflection popping from the brighter areas. This is something I wasn’t really able to achieve with the Ricoh GR III or Ricoh GR IIIx.
Before, I would try to get results like this by underexposing and playing with exposure. But that never gave the same effect.
Now the red filter naturally produces those deep black skies.
Stronger Contrast and Tonal Separation
What the red filter is doing is increasing overall contrast and separating tones more aggressively.
Bright objects stay bright.
Cool-toned areas — especially blues — become much darker.
That’s huge.
Because one of the problems I had when shooting black and white on the Ricoh GR III was that when I underexposed to create drama, everything became darker, including the highlights.
But with the red filter, the contrast separation becomes much more pronounced.
The images become more:
graphic
dramatic
abstract
And honestly, it just looks beautiful.
Dramatic Skies and Abstract Landscapes
One of the most exciting parts about using the red filter is the sky.
The sky becomes this rich deep black, while the clouds pop bright and defined.
It creates this surreal, almost dreamlike look.
And that’s been keeping me curious.
Because suddenly I can take a completely ordinary scene — a house next to the river, some buildings, a simple skyline — and transform it into something much more dramatic just by toggling the filter.
The red filter can turn a mundane situation into something visually powerful.
The Exposure Effect
The red filter cuts roughly two stops of light.
That means:
exposure drops slightly
contrast increases
tones deepen
When you compare before and after images, you can clearly see that the sky and water become much darker while highlights remain visible.
This is where the contrast really starts to shine.
What It Does to Skin Tones
The effect on skin tones is actually really interesting.
I made a self-portrait with the red filter, and what happens is that warm tones become lighter.
Skin appears smoother.
Freckles and blemishes are reduced.
There’s almost this soft glow on the skin, which I found really beautiful in the image.
One thing I love about black and white photography is separating the subject from the background.
With the red filter, the background can become crushed in black, while the face stays soft and luminous in the light.
It creates a really strong visual separation.
Darkening Blue Objects
Anything blue becomes darker.
That includes:
sky
water
distant atmosphere
You can see it clearly in scenes with the river — the water and sky become nearly black while reflections from brighter surfaces still pop through.
That creates a very graphic, high-contrast look.
And the abstraction you can get from that is extremely intriguing.
A Physical Filter, Not Digital
This is important.
The red filter on the Ricoh GR IV Monochrome is not a digital effect.
It’s a physical filter that shapes the light before it reaches the sensor.
That means the tonal effect is baked into the image during capture.
The ND filter from previous GR models is replaced with this red filter.
But Ricoh compensated for that by adding a faster electronic shutter up to 1/16,000th of a second, so you can still shoot in bright light.
Interestingly, the red filter also behaves a little bit like a mini ND filter because it reduces exposure by about two stops.
Why It Works So Well with a Monochrome Sensor
The Ricoh GR IV Monochrome sensor has no color filter array.
Every pixel records pure luminance information.
Because of that, color filters behave more like they did in black and white film photography.
So the red filter is literally shaping the luminance relationships in the scene before the image is recorded.
This isn’t something you’re recreating later in software.
It’s happening optically.
Why I Love It for My Workflow
This is especially amazing for me because I shoot JPEG.
So the image comes straight out of camera with this tonal structure already baked in.
No editing needed.
Just shoot.
When I Use the Red Filter
Lately I’ve been using the red filter mostly when I see:
blue skies
buildings and architecture
rivers and landscapes
It’s perfect for those walks along the river where the sky and water can create strong contrast.
I haven’t used it as much for classic street photography yet, but I can definitely see it becoming part of that workflow too.
Final Thoughts on the Ricoh GR IV Monochrome
This camera is honestly one of the most interesting photographic tools I’ve ever used.
Think about the history of photography.
Niepce experimenting with chemistry.
Eugène Atget carrying around a huge wooden camera with a bellows and tripod.
And now we have a camera that:
turns on in half a second
has image stabilization
can shoot 1/16,000th of a second
and has a mechanical red filter built into the lens
It’s kind of insane when you think about it.
You can pretty much be a human tripod.
I’m not the biggest tech guy, honestly.
I just wanted to experiment with this feature and share my thoughts.
Today we’re starting something new on the channel — a little behind-the-scenes look into my photography process.
This is officially Street Photography Diary Entry #1, where I’m sharing my visual diary with the Ricoh GR4 Monochrome. I’m going through some photos from a recent walk and talking about what I’m discovering with this camera.
The very first photograph from this walk in my hometown, Philadelphia, was made using the red filter.
And honestly — the red filter is insane.
I’m starting to realize that if you’re a monochrome shooter, this upgrade is absolutely worth it. Having a monochrome sensor paired with a red filter changes the game drastically.
Even just seeing the results on the camera screen has me extremely excited.
The Red Filter Changes Everything
When I shoot with the Ricoh GR4 Monochrome, I typically use multi-segment metering mode.
In scenes like this, I’ll usually use the EV to slightly underexpose, especially when using the red filter. That helps preserve highlights and also boosts contrast.
In the past, when I was shooting with the GR III, I would try to replicate this look using my JPEG recipe:
High contrast
Small JPEG files
Underexposing slightly
But even doing that, I could never achieve this result.
The way the bridge pops out from that black background here is completely nuanced in a way that surprised me. I personally had never used a red filter before, and now I’m seeing completely new results.
My Simple Monochrome Workflow
I shoot small JPEG files, which makes my workflow extremely simple.
My process is straightforward:
Import photos directly to my iPad
Publish immediately to my website
Back everything up with Lightroom CC cloud
Move on
That’s it.
It’s a very streamlined way of working, and it keeps photography feeling light and fluid.
Why I Photograph in Monochrome
For me, shooting monochrome is not an aesthetic decision.
It’s actually a solution to a problem.
Photography asks the question:
How can we articulate the mundane nature of everyday life in new ways?
And for me, the answer is simple:
Follow the light.
By stripping away color and photographing in black and white, I find infinite ways to keep returning to photography every day.
The Light Is the Subject
These days, I’m not trying to photograph interesting things.
I’m not searching for moments.
I’m simply looking at the light.
When you think about the medium of photography, it’s really just drawing with light.
So when I’m walking the streets, light itself becomes the subject.
I’m not looking for impactful photographs. I’m not looking for anything specific.
I’m simply following the light.
Walking the Schuylkill River Trail
On this particular walk, I was along the Schuylkill River Trail here in Philadelphia.
There’s a beautiful new suspension bridge that connects the boardwalk to the Grey’s Ferry area.
I walk this trail almost every day, especially when the weather is nice.
And on the surface, these walks are completely mundane.
It’s the same path every day. A narrow trail. You can’t really veer off.
Just the road ahead.
But once you embrace monochrome photography, these spaces become infinitely interesting.
Because now I’m not dependent on:
an interesting character
a dramatic moment
a clever juxtaposition
Instead, I’m simply letting light elevate the mundane.
Surprise Is the Fuel
At the end of the day, I’m curious about how light renders onto my monochrome sensor.
Using the red filter:
the sky crushes into deep blacks
subjects pop with high contrast
scenes become completely transformed
And I allow myself to be surprised.
That surprise is actually what keeps me awake when I return home and start reviewing the photos.
I’m excited to see:
How did life render on the sensor today?
Making Frames in the Light
When I see something interesting, I’ll raise the camera and make lots of frames.
For example, I was photographing a pool of light with these sticks coming up from the ground.
I moved around while shooting, trying to see how the light beams interacted with the scene.
These small moments bring me a lot of joy.
And when I get home and review the photos, the novelty that light provides keeps me endlessly curious.
Photographing My Backyard
Because of this, I no longer feel the need to travel somewhere new to photograph.
My backyard here along the river trail is more than enough.
By simplifying everything and working with monochrome, the world opens up again.
The Red Filter Surprises
I also noticed something interesting while shooting toward the light with the red filter.
Sometimes these strange flares appear.
There’s likely another surface between the filter and lens that causes these reflections.
I was photographing a climber on the suspension bridge and noticed these unexpected flares appearing in the frame.
Once again — the surprise keeps me curious.
Small Glimmers of Light
Even the smallest things catch my attention now.
A reflection in a window. A glimmer of light on the ground.
That’s enough.
I’m just trying to stay sensitive on the street and photograph everything — while primarily following the light.
Playing Double Dutch on Chestnut Street
Later that day I walked down Chestnut Street.
The weather was beautiful. The sun was out and people were everywhere.
I came across a group of girls playing double dutch.
Immediately I jumped into the scene.
I asked them:
“Can I get in?”
So I started playing double dutch.
Now listen — I do not know how to play double dutch.
They were spinning the rope ridiculously fast.
They were definitely trying to mess me up.
But the beauty of the Ricoh GR is that I don’t appear as a photographer.
I’m just a guy walking down the street.
So I start playing. Then I pull the camera up.
Suddenly I’m inside the scene, making photographs.
Photography Is About Life
The photographer’s duty is simply to be present.
To engage with humanity.
Because photography actually has nothing to do with photography.
It has everything to do with how you experience life.
The real traits of a photographer are things like:
curiosity
courage
intuition
Composition, timing, and lighting are easy.
Those things come with repetition.
But curiosity and courage — those are the real skills.
Don’t Take Photography So Seriously
My philosophy is simple:
Play.
Let the chips fall where they may.
The more you play, the more you develop your authentic way of seeing.
I don’t go out pretending to be some serious visual storyteller trying to make impactful photographs.
I’m just living my life.
The camera comes along for the ride.
And I photograph what I find.
Philadelphia Photo Club
At the end of the day I stopped by a local photo club at the Philadelphia Library.
If you’re from Philly, check out the art section where the photo books are.
This was my first time joining the club.
I met some interesting people and presented some new work.
Flux Volume 1 — Tokyo
I showed my new book:
Flux Volume 1
This is my work from Tokyo — 13 days of photographing.
The photographs turned out beautifully in the small 5×8 trade book from Blurb.
I feel like after a decade of photographing, my vision finally came together on this trip.
I pushed myself in:
Shibuya Crossing
the alleyways of Shinjuku
pools of light across the city
And I became fascinated with faces as the central subject.
For 13 days straight I was completely obsessed with photographing Tokyo.
A New Series on the Channel
This street photography diary will become a new series on the channel.
I’ll share the photographs I’m making as I go out and shoot every day.
Work in progress. The process. The evolution.
Because photography is a constant state of becoming.
A state of flux.
Every day is simply another opportunity to make new frames.
The idea of the Overman (Übermensch) comes from Friedrich Nietzsche. The Overman is a human who creates his own values instead of following the herd. He lives creatively, courageously, and playfully — transforming life into art.
If we imagine that mindset applied to street photography, the approach becomes something very different from ordinary photography.
1. The Overman Rejects the Herd
Most photographers copy trends: Leica aesthetic, Instagram edits, safe compositions.
The Overman would not care.
He would create his own visual language.
He walks the street like a conqueror of perception.
Not asking:
“What will people like?”
“Is this trendy?”
“Will this get likes?”
But asking:
What do I see?
What vision wants to emerge through me?
Street photography becomes an act of self-creation.
2. The Overman Treats the Street as a Stage
For the Overman, the city is not chaos.
It is a living theater.
Every passerby becomes a character. Every shadow becomes a symbol. Every moment is mythic.
The photographer becomes a myth-maker of the everyday.
A man stepping off a curb is no longer a pedestrian.
He is Achilles crossing the battlefield of asphalt.
3. The Overman Embraces Risk
Most photographers hesitate.
The Overman steps forward.
He gets close. He trusts instinct. He shoots boldly.
Because hesitation is a form of weakness.
The Overman believes:
Better a bold photograph that fails than a safe photograph that never lived.
4. The Overman Creates Meaning
The herd photographs events.
The Overman photographs symbols.
He sees:
irony
tension
humor
contradiction
power
He sees the spirit of the age in a single gesture.
Street photography becomes philosophy in visual form.
5. The Overman is Playful
Nietzsche said the highest stage of the spirit is the child.
Playful. Creative. Free.
So the Overman photographer moves through the street like a cosmic trickster.
Light. Fast. Curious.
6. “A Gay Giant Flying on Mercury’s Wings”
This image actually captures something very true.
In mythology, Mercury (Hermes) had winged sandals, symbolizing speed and fluidity.
The Overman photographer would move through the street like this:
quick
joyful
mischievous
impossible to pin down
Not heavy.
Not anxious.
But light and airborne.
A photographer dancing through reality.
The Overman Street Photographer
He walks the city like a god among men.
Not arrogant — but fully alive.
He sees what others miss.
He acts when others hesitate.
And when the shutter clicks, it is not just a photograph.
It is a declaration of life.
Honestly Dante, this actually aligns a lot with your own Flux philosophy — the idea that life is in motion and that the photographer enters the stream of reality and responds instinctively.
