"What I'm always trying to do is to make a picture that goes beyond a story."

"If you can shoot on the street, you can shoot anything."

-- Mary Ellen Mark

In this episode, Antonio and Ward begin with some "light" conversation about the aurora making a rare appearance in New York. Antonio reflects on the quiet satisfaction of finally catching a glimpse, even though his neighbors’ iPhones seemed to perform better than his carefully chosen Fujifilm setup. It wasn’t just about getting the perfect shot—it was about being part of the moment and feeling connected to something beyond the ordinary.

But the episode really finds its rhythm when the conversation turns to Mary Ellen Mark. Both Antonio and Ward admire her ability to disappear into the scenes she captured, especially during her time as the set photographer on Apocalypse Now. They talk about how her photographs of Brando feel less like production stills and more like windows into the very essence of his character, Colonel Kurtz. There’s a shared sense of respect between Antonio and Ward as they reflect on how Mark’s work goes beyond mere documentation—her images feel lived in, revealing moments that carry an emotional weight. It’s clear that discussing Mark taps into something personal for both of them: an appreciation for the kind of photography that isn’t just seen but felt.

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The PhotograpHER addiction diaries – Mary Ellen Mark

The Essence Of Mary Ellen Mark, The Invisible Made Visible

The Conet Project

Antonio M. Rosario's Website, Vero, Instagram and Facebook page

Ward Rosin’s Website, Vero, Instagram and Facebook page.

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The Unusual Collective

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Ward's Images:

Mary Ellen Mark:

Antonio's Images:

"...talking about pictures as though you could tell anybody how to take good ones is nuts. Pictures are given, not taken." -- Robert Adams

"The work of a photographer is to reveal hidden things." -- Matt Black

In this episode, Antonio and Ward kick things off by comparing the new iPhone camera to Fujifilm gear, debating whether the latest upgrades really make a difference for serious shooters. From there, Ward talks about his upcoming trip to Japan and how he plans to shoot street photography around Tokyo and beyond, hoping to capture some of the country’s unique character. He also shares his experience using different film stocks like Ilford HP5 and T-Max 100, reflecting on the challenges of exposure and why he’s leaning back toward Ilford for its flexibility and grain structure.

They also dig into recent book finds like Bryan Shutmaat’s "Sons of the Living", which documents the gritty reality of the American Southwest, and Anne Noggle’s intimate black-and-white portraits. Antonio highlights Pau Buscató’s work in "Street O’Clock", and they discuss the challenge of capturing perfect coincidences in street photography. Sprinkled throughout are insights into film photography, reflections on processing styles, and a nod to the influence of FSA photographers.

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"Don't tell your parents where we went”

“I’m sort of a spy,” ― Vivian Maier

In this episode, Ward and Antonio start off by diving into Ward's recent exploration of minimalist photography. Ward shares how he has been capturing everyday objects—like cars and sheds—using his phone camera in black and white. His focus is on the "thinginess" of these mundane subjects, turning them into striking images that highlight their presence and simplicity. Ward reflects on how this approach mirrors his earlier work and discusses the surprisingly high quality of prints that could be achieved with smartphone cameras.

The conversation moves on to Antonio's recent experience attending a talk by photographer Sean Tucker, who discussed themes from his book, "The Meaning and the Making." Antonio shares insights from the event, highlighting Tucker's emphasis on slowing down and appreciating the process of photography in an era dominated by the rapid pace of social media. This discussion prompts both hosts to reflect on the challenges and rewards of practicing mindful photography today.

Finally, the episode wraps up with a deep dive into the work of street photographer Vivian Maier. Antonio recently visited an extensive exhibition of her work in New York City, and Ward also saw a Vivian Maier show in early 2020, sparking a rich discussion about her photography. They reflect on the impact of viewing Maier's prints in person and the curatorial choices that brought out different aspects of her work, from "Subtle Gestures" to "Remarkable Identities." They explore the ongoing debate around Maier’s style, her legacy, and the ethics of critiquing her personal life posthumously.

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Fotografiska NYC

Sean Tucker Photographer

Antonio M. Rosario's Website, Vero, Instagram and Facebook page

Ward Rosin’s Website, Vero, Instagram and Facebook page.

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The Unusual Collective

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"For me, vision is an intelligent form of thought." -- Andreas Gursky

“Creativity is contagious, pass it on.”

– Albert Einstein

In this episode, Antonio and Ward start with reflections on the changing seasons and how it influences their photography experiences. They transition into a discussion about the nuances of teaching Lightroom, where Antonio shares how he successfully engaged his students by incorporating personal insights and broader photography contexts rather than sticking strictly to technical instruction. This approach not only made the classes more dynamic but also underscored the importance of connecting deeply with one's photographic work.

The episode also touches on the different ways photographers approach their craft. Antonio talks about his recent discovery of 1,600 untouched photos on his camera, which he hadn’t downloaded for months. Revisiting these images led to a rewarding process of rediscovery, evoking the anticipation and surprise of developing film in the pre-digital era. Ward adds to the conversation by discussing his ongoing community project, which has been evolving over several years. Together, they explore the merits of quickly reviewing and sharing images versus allowing them to sit and mature over time, emphasizing the value of returning to work with fresh eyes and a renewed perspective.

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In this episode, Ward kicks things off by sharing his experiences at the Calgary Stampede, a massive fair and rodeo. He talks about using his new camera gear, including his trusty Fujifilm X-E3 with a 23mm lens for wide shots and the new Fuji X-S20 with a 50mm lens for more detailed portraits. Ward explains how he uses the 23mm lens for capturing groups of people in candid moments and the 50mm lens for more composed shots from a distance. He emphasizes the importance of getting into the right mindset to capture compelling images, especially in such a lively setting. Ward also reflects on the importance of enjoying the process of photography, from shooting to editing.

Antonio then brings up an interesting discussion about the ability to simultaneously experience an event and document it through photography. He draws on his experiences filming concerts and live shows to illustrate how seasoned photographers can balance both aspects. They discuss the concept of "seeing" in photography and how it can transform one’s perception of everyday environments. Ward mentions his approach to street photography at the Stampede, including his strategies for shooting at night and using different lenses to keep his work fresh and engaging. The conversation explores the challenges faced by beginner photographers and how they can learn to see the world differently through their cameras.

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Show Links:

Antonio M. Rosario's Website, Vero, Instagram and Facebook page

Ward Rosin’s Website, Vero, Instagram and Facebook page.

Ornis Photo Website

The Unusual Collective

Street Shots Facebook Page

Street Shots Instagram

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