"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.

Subscribe to our Substack Newsletter

Help out the show by buying us a coffee!

Support the show by purchasing Antonio’s Zines.

Send us a voice message, comment or question.

Show Links:

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.

Ornis Photo Website

The Unusual Collective

Street Shots Facebook Page

Street Shots Instagram

Subscribe to us on:

Apple Podcasts

Google Podcasts

Spotify

Amazon Music

iHeart Radio

----more----

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.

Subscribe to our Substack Newsletter

Help out the show by buying us a coffee!

Support the show by purchasing Antonio’s Zines.

Send us a voice message, comment or question.

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

Subscribe to us on:

Apple Podcasts

Google Podcasts

Spotify

Amazon Music

iHeart Radio