3. Index
3
Loro di Napoli
Peppe Di Donato
(In)World-Stories
With Richard Keeling
Hiroyuki Nakada: A Japanese street photographer in Shanghai
Researched by Michael Kennedy
A street photographer in dead zone
Jinn Jyh Leow
4/13
25 26/35
36/47
14/24
Beijing - La Joie de Vivre
Niklas Lindskog
4.
5. Loro di Napoli
Peppe Di Donato
“Napoli non te l’aspetti.
È la città degli imprevisti.
E niente è più vero dell’imprevisto, più estraneo ad
ogni logica di progetto, illeggibile nelle cause, nascosto
nelle conseguenze.
E, come Napoli, l’imprevisto semplicemente accade.
Squarcia le solitudini, illumina le strade, stravolge i
pensieri, riscrive le storie, recupera il passato, distende
il futuro.
Non rispetta i tempi, non conosce classificazioni, non
ama le immagini fisse, le bellezze scontate, la vecchi-
aia serena, l’eleganza composta.
“You do not expect Naples.
It is the city of the unexpected.
And nothing is more true than the unexpected, un-
related to any project logic, unreadable in the reasons,
hidden in the consequences.
And, in Naples, the unexpected simply happens. It
breaks the loneliness, lights up the streets, upsets the
thoughts, rewrites the stories, recovers the past, stretches
the future.
It does not respect the times, does not know classifi-
cations, does not love the still images, the foregone
beauties, the peaceful old age, the composed elegance.
5
7. 7
È luogo degli incontri, degli abbandoni, delle fughe e
degli inizi.
Ti guarda, ti sfida, sempre ti vince, ma sa farsi vincere
dalla bellezza.
Napoli non te l’aspetti nei gesti inattesi, nella saggezza
antica e nella filosofia di strada del suo deserto sociale.
Fiorisce di una pioggia inattesa, ricopre i muri di vita,
di una vita che si reinventa ogni giorno e da sempre
uguale.
Napoli non si fa raccontare e non sa raccontarsi, non
si lascia afferrare e nemmeno capire: indistinta si spec-
chia.
E semplicemente accade e ti chiede di vivere.”
Silvia Rosati
Peppe Di Donato
It is the place of rendezvous, abandonments, escapes
and beginnings. It looks at you, challenges you, always
wins you, but it knows how to be overcome by beauty.
You do not expect Naples in unlooked gestures, in
ancient wisdom and in the street philosophy of its
social desert.
It blooms with an unexpected rain, covers the walls
with life, a life reinvented every day and always the
same.
Naples is not told and cannot tell itself, does not
get caught up or even understood: it mirrors itself
indistinct.
And it simply happens and asks you to live.”
Silvia Rosati
13. 13
Peppe Di Donato
Peppe Di Donato:
On the streets of the world
Peppe Di Donato knows how to use street photography
to convey the activity of everyday life with a touch of
irony.
The 52-year-old Di Donato is also a master of compo-
sition, with a geometric precision that makes him a
cerebral photographer. His empathy is not only to-
wards his subjects, but to the surrounding environ-
ment, as well.
Whether it’s Napoli or Antwerp or Angola, or countless
other locales, Di Donato is ready to photograph faces,
situations, spaces, lights, like an anthropologist in
search of evidence to our common connections as
people.
Di Donato’s odyssey as a street photographer begins
with his point of origin, which is Naples - or more au-
thentically: Naploi, in the way that all stories are
grounded in our formative experiences. Yet it was not
until 2012, that Di Donato started using a camera for
the first time.
“Six years ago,” Di Donato said, “I needed to change
my life … to leave everything …
home … Naples …certain memories. These things hap-
pen. To do so as quickly as possible, I accepted a posi-
tion with an oil and gas company looking for personal
qualified abroad.”
As Di Donato began to travel in his new life, a Nikon
D7000 became his steady companion. His passport
began to quickly show evidence of trips to Dubai, then
Indonesia, a brief return to Milan and then Angola,
Saudi Arabia, then again in Europe, the Netherlands
and Belgium.
For Di Donato, photography became a natural way to
express what he saw all around him.
“The appeal of street photography is endless,” Di Do-
nato said. “There is always something to discover and
to capture in one image. Street photography docu-
ments emotions, relationships, everyday events where
humans are protagonists. That's what I try to commu-
nicate with my camera: faces and expressions that
otherwise would not be remembered.”
A lasting influence for Di Donato, who has had no for-
mal background in street photography, is Henri
Cartier-Bresson - the unofficial professor with a mil-
lion students.
Yet Josef Koudelka has also had a positive impact on
Di Donato.
These days Di Donato favors a Fuji X-T2 with a fixed
lens for street photography.
“Like all serious street photographers,” Di Donato said,
“I like to immerse myself in the scene, trying to remain
invisible. I’m not interested in interacting with my sub-
jects. I don’t want anything to be contrived.”
What di Donato looks for in an image is simplicity, the
right compromise between form and content. And yet
this can be the elusive butterfly.
“I’m not satisfied that I have accomplished this,” Di
Donato said. “Perhaps this is only natural, to keep pur-
suing the ideal - so that the journey is the real satis-
faction.”
In variation of Gertrude Stein, Di Donato knows that
the street is the street is the street, and that every
place offers a banquet for the eyes.
“Obviously I love Naples,” Di Donato said. “Naples is an
open-air theater, and perfect for street photography.
But actually I come back to my town just as a tourist.”
Wherever Di Donato walks the streets for his hobby,
he prefers to work in B&W.
“I love the abstraction of B&W images,” Di Donato
said. “I can better see the light and the shadows, the
subtleties of gray. Sometimes I shoot in color, but B&W
is so compelling for me.”
To help achieve his vision, Di Donato turns to Light-
room or Photoshop to fine-tune his images, which
only takes him a few minutes of post-production time.
“Peppe Di Denato: an artist with an eye for the un-
usual amongst the usual. Quality frames drawing the
viewer into the story of life. No spray and shoot, just
composition and freeze. Self confessed lover of Black
and White, an artist you will do well to follow into the
streets of the world.”
14.
15. 15
The number “13” symbolizes bad luck - at least in the
Western culture, yet for Niklas Lindskog his life
changed for the better when he turned 13-years-old
and started his pursuit of photography. And those who
have been a witness to Lindskog’s talent with a cam-
era have been the luckiest of all.
Initially, the 54-year-old Lindskog wanted to make
films at the outset of adolescence.
“My parents where very supportive of my ambition at
such a young age,” Lindskog said. “Yet they thought I
should learn the basics first with still photography.”
Lindskog’s mother found him an evening course, which
was on a pretty high level, covering all bases from
composition and lighting to printing and developing
film.
“My parents bought a Minolta SLR,” Lindskog said,
“and I got really enthusiastic, developing film and
prints, sitting hunched in a closet lab.”
A year later, the Lindskog family moved from Gothen-
burg to Umeå, in northern Sweden - and the pursuit of
photography continued without interruption, as the
burgeoning artist borrowed photography books in the
library and constantly read photography magazines.
“When I was young,” Lindskog said, “I did athletics,
mostly I ran 200-400 meters. At 19 I started coaching,
and at 27 I became a professional coach. This is still
Beijing with Niklas Lindskog
La joie de vivre
by Michael Kennedy
16. 16
Niklas Lindskog
my job, even if I've drifted towards administrative du-
ties at the school for 16-19 year old athletes where I
work.”
Lindskog has been a photographer for 40 years now. In
the beginning he shot everything, with his friends and
athletes as the most common subjects.
“Yet when I look at my old negatives,” he said, “I real-
ize I shot something similar to street photography
right from the start. I've always liked to travel and al-
ways taken a lot of photos when I did. Since 2010 I've
traveled extensively and combined my longing to dis-
cover the world with a growing passion for street pho-
tography.”
For Lindskog, photography is a way of expressing him-
self in a creative way, and the street genre offers the
possibility of capturing a moment of real life and turn-
ing it into art.
A crystalizing moment for Lindskog happened in 2010
during a visit in Genoa, Italy.
“I remember the moment I caught this image,” Lind-
skog said. “As I routinely set up to shoot the scene with
some men looking down an alley, I simultaneously saw
a girl start running and then the dove. I clicked away,
thinking "WOW"! I thought it was magic how the
pieces suddenly fell in place. And the next second it
was gone.”
See: https://bit.ly/2MA8FdH
The role of serendipity was a classic eye-opener for
Lindskog, and truly inspired him.
“Now, I realize the image has its flaws,” he said, “but I
love it all the same!”
Aside from his course at age 13, Lindskog is a self-
taught photographer - and this is his main hobby.
“I’ve had some on-line training for Photoshop and
Lightroom,” Lindskog said. “Of course I've done a bit
of reading and some discussion with fellow photogra-
phers. Yet I feel I'm still at the beginning of my learn-
ing experience.”
Most all discussions of street photography involve the
recognition of Henri Cartier-Bresson as a major influ-
ence - if not the leading candidate.
“I remember borrowing books by Cartier-Bresson in
the library as a kid,” Lindskog said. “I was truly amazed
at his photos! In the Swedish photo magazines I liked
a man called Lars Tunbjörk for his simple but absurd
17. 17
color street photos. A bit of a Swedish Martin Parr
when you look at it in retrospect.”
Yet Swedish photographer Anders Petersen has also in-
fluenced Lindskog. And he’s gained a lot of inspiration
from other art forms, mainly modernist painters like
Picasso, Miro, Chagall, Magritte, and Dali.
A photo that resonates greatly for Lindskog is by
Anders Petersen, from the Café Lehmitz series that was
on the cover of Tom Waits’ Rain Dogs album (1985).
See: https://bit.ly/2C1QybM
With age often comes a more flexible bank account,
and like many people past the half-century-mark,
Lindskog has been buying a lot of photo books over
the last few years. His collection is mainly of street
photographers, like Diane Arbus, Raymond Depardon,
Elliott Erwitt, Ara Güler, Dorothea Lange, Annie
Leibowitz, Helen Levitt, Vivian Maier, Joel Meyerowitz,
Martin Parr, Anders Petersen, Christer Strömholm, Alex
Webb and Garry Winogrand.
“Books are inspirational,” Lindskog said, “yet meeting
and interacting with other photographers is even more
so. Like many people who pursue this calling,
I’m involved with on-line posting groups like Facebook
and both fotosidan.se, and deviantart.com. I also travel
a lot, and nothing beats the real world meetings.”
There was a time when Lindskog went everywhere with
a Samsung NX500.
“I loved everything about that little Samsung camera,”
Lindskog said, “but after three intensive years, I think
I wore it out. Now I’m using the Sony A9, and it's
working well, even if it's a bit bigger than I would like.”
Typically, Lindskog uses a wide-angle or normal lens.
For his new Sony, he has a 25mm Zeiss and a 55mm
Sony Zeiss.
“They are both great,” Lindskog said. “I'm thinking of
getting the Sony Zeiss 35 2.8.
I use natural light. For me, that's from the sun and the
electric lights of the city.”
For Lindskog, sometimes the image just shouts color
Niklas Lindskog
19. 19
Niklas Lindskog
or B&W. Other times he tries both and chooses what
he likes best.
“I normally don't publish the same photo in two ver-
sions,” Lindskog said, “yet it has happened that I have
changed my mind about my original choice.”
As much as possible, Lindskog follows the Winogrand
rule of not editing until a while later.
“I normally do a little bit straight away and then keep
the bulk of the photos for later editing,” Lindskog said.
“At this point I'm still looking at photos from 2015 -
even if there is just a little left working on from that
year.”
Virtually all Lindskog’s post-production occurs through
Adobe Lightroom Classic CC, and he rarely uses Pho-
toshop these days.
“Lightroom covers everything for me,” Lindskog said,
“and it only takes me five minutes, more or less.”
When Lindskog hits the streets for his hobby, he tries
to shoot as candidly as possible, so as not to influence
the subjects and get the natural scene.
“After shooting, I don't mind talking to people,” Lind-
skog said, “and I can mix up my street work with im-
promptu portrait sessions big and small. In some
countries chatting with people in the street is a pure
joy, in others it's a mixed bag.”
Frequently, photographers and film directors share
common ground in pre-visualizing a composition be-
fore initiating any camera work. Other times, photog-
raphers who work under the umbrella of the
documentary genre prefer the spontaneity of living in
the moment with a minimum of contrivance.
“I do have an image in my mind,” Lindskog said, “yet
sometimes only for a very short moment. I try to divide
my street time between two modes. In one, I'm trying
to coach myself into mastering different aspects of
composition, shooting more slowly and planning shots.
And then I go into the "just do it-phase" and hope that
some of that training will have rubbed off on my
"one-second-composition" skills, which I need when
just reacting to what's happening in a crowded street.”
20.
21.
22. 22
Niklas Lindskog
What Lindskog hopes to accomplish with a camera is
to use form and content to create a story.
“I hope my photography sparks the imagination of the
viewer,” Lindskog said, “who then feels the need to
create a story. This photo sparked a lot of questions
and thoughts and it's one of my favorites.”
See: Efter bröllopet
Any person who can run the board from Picasso -to-
Garry Winogrand-to-Tom Waits offers insights better
than any found in school.
27. 27
Street Photographer in A Dead Zone
Jinn Jyh Leow
A street photographer without people in public settings
is in the dead zone.
If this is how you get your fix, but rehab is too expen-
sive, too far away, or you just don’t like taking pills
from old ladies with bad breath … what are you going
to do?
This exestential question is what faced me when I re-
turned to George Town in 2015, after several years in
Melbourne, Australia.
Located about 400 km north of Kuala Lumpur, the
Malaysian island of Penang is far better known for its
food than for street photography.
Allegedly, a staggering 96.8% of transits on Penang is
via private transport, one of the highest in the world.
Without much pedestrian infrastructure and a city
planned for cars, people simply avoid walking as much
as possible under the tropical heat and humidity.
This makes for a tricky cityscape for a street photog-
rapher.
I caught the street photography bug while living in
Melbourne - a city with a strong street culture where
I could grab my Nikon D3100 camera, go out, and
start shooting anytime.
Returning home, the vacuum of foot traffic was pal-
pable. Luckily, when people do not walk in George
Town, they congregate. The tourist spots, malls, and
markets are where you find people.
In order to start shooting in George Town, I had to be-
come a tourist in my hometown; to see with new eyes,
to walk the streets that I once knew but did not know
28. 28
Jinn Jyh Leow
upon my return. I decided to hit the old city first, since
the sands shifted in my absence.
As the first British settlement in South-East Asia,
George Town was anointed with the title of UNESCO
Heritage Site jointly with Malacca (another historic
city 500km south) in 2008 - which boosted the
tourism. Then in 2012, Lithuanian artist Ernest
Zacharevic painted a series of murals on the sides of
old shophouses in the city which went viral around the
country and still remains extremely popular among
tourists today. Tourist foot traffic started to trickle in
and the old city is gentrified.
Gone was the sleepy old town of my youth, and the
new version was abuzz with both the young and fresh
tourists; heritage buildings were remodelled into hip-
ster cafés and backpacker hotels.
Great news for the street photographer in me, yet sad
news for that nostalgia deep down.
The new chaos was a welcoming sight for me with my
new X100S. The narrow old streets were pushed to the
limits with cars, motorcycles, lorries, tri-shaws, bicy-
cles, pedestrians, and roadside stalls all fought for the
same space. It was bustling with a new kind of energy
- jagged, loud, confrontational.
Traffic in George Town slowed to a crawl while the
29. 29
Jinn Jyh Leow
pedestrians and scooters weaved between the cars. A
lorry unloaded goods up front, and the one-way lane
became even narrower and the traffic was at a stand-
still.
But that’s a minor annoyance for Penangites, as we
are masters of threading the needle, a skill we devel-
oped over years - much to the chagrin of the rest of
the drivers around Malaysia.
I walked past an old kopitiam (traditional coffee shop)
hawking hokkien mee, char koay teow, and teh tarik
and then only a few units down the colonial-era ter-
race, a shophouse had been converted into a posh
patisserie sporting macarons and gateaux.
Quiet shophouses with faded hand-painted signs deal-
ing with wholesale items behind rusty folding lattice
doors that adjoined glass glazed artisan craft work-
shops.
The nostalgic in me was glad that as the city transi-
tions … the old life was still very evident.
It turns out I did not have to walk far to find the old
charm. Just a few streets away from the tourist
hotspots, the familiar scenes re-emerged. An old man
sat on a chair in the five-foot way; a dog’s bark from
deep within the shophouse; a woman burned incense
and joss sticks to the Sky God and Earth God in front
of her house - the old life emerged when the chatter
quieted down.
Plus ça change, plus c’est la même chose.
“Lai, ah boy, tjiok guey tji eh,” a middle-aged woman
on her bike said to me, as I stood in the middle of the
five-foot walkway, blocking her path.
As I stepped aside, amidst the smattering of Penang
Hokkien, Mandarin, the occasional Malay, Cantonese,
Tamil, and English, I knew that I was home, and this is
a place where I can continue to know and appreciate
… and photograph.
37. Hiroyuki Nakada:
A Japanese street photographer in Shanghai
Researched by Michael Kennedy
37
In the beginning was the Word … and the Word was
Ricoh.
When first taken over by the calling of photography,
Nakada used Fuji SLR cameras for his street work. Yet
another crucial turning point in his odyssey occurred
when he returned to Tokyo for a visit in February, 2010
and picked up a Ricoh GR II for the first time.
“It turned out this changed my life,” Nakada said. “This
happened with a chance visit to a camera shop. What
captivated me was that common feeling all people
have when they have this camera in their hands.”
Photographers familiar with the Ricoh GR II under-
stand Nakada’s regard for the camera. It is light, with
a fixed wide-angle lens and an automatic snap focus
capability, a virtually silent shutter - and it weighs
slightly less than nine ounces (248 grams) and fits
comfortably into any pocket. The stealthy Ricoh looks
like a cheap tourist camera from a cut-rate store in
any major city of the world. In other words, people in
the street do not flinch when they see someone with
a camera that looks fit for only snapshots.
In many respects, the no-frills Ricoh Gr II is like a small
Trojan horse. Do not be deceived by appearances.
To go from a SLR on the street-to-a DSLR, has taken
older photographers a serious change in thinking - es-
pecially for those who fancy themselves as purists. So,
39. 39
to go from a DSLR-to-a compact mirrorless camera on
the street seems pure blasphemy.
Yet a rose is a rose is a rose. Would Shakespeare have
written a better version of Hamlet on a MacBook Pro?
Nakada’s encounter with the Ricoh GR II shifted him
profoundly in a new direction of photography, and he
has helped shake things up.
To talk about Nakada, and to talk about street pho-
tography, and to especially talk about the Ricoh GR II
- one must appreciate Daidō. That’s Moriyama Daidō.
His influence is immense throughout the Orient.
European street photographers acknowledge the last-
ing influence of Henri Cartier-Bresson. American street
photographers often say the same of William Klein,
now age 90, and Robert Frank, slightly older at 93.
Japanese street photographers revere Moriyama Daidō
- still alive at age 79.
It is Daidō, the Godfather of Japanese street photog-
raphers, who later popularized the Ricoh compact
camera for his “field work.” Yet between 1960-1975,
Hiroyuki Nakada
both Daidō and the notorious Araki tore up the Japan-
ese world of photography - and re-wrote the rules.
“If I consider what influenced me to become a serious
photographer almost 10-years-ago,” Nakada said,
“that’s not easy to answer. If I consider all the things
that have happened to me in life to that point, it’s
often an abstract answer. However, the influence of
Daidō cannot be denied.”
Nakada regards Daidō as his sensei - his teacher, a high
acknowledgement of status in Japanese society.
“I have learned a great deal from him in terms of cre-
ative techniques,” Nakada said.
The most significant lesson Nakada has learned from
Daidō is to be constantly “in the field.”
“I think a lot about what would happen,” Nakada said,
“if I replaced Shinjuku, Daidō’s “field” in Tokyo with
Shanghai, which is my “street.” I decided that street
photography is the act of moving through the streets
any where, and taking a great many photographs.
Everything comes down to that.”
41. 41
Hiroyuki Nakada
While acknowledging Daidō as his sensei, Nakada does
not consider his photography as derivative in style or
technique. In this case, Daidō’s philosophy is what res-
onates with Nakada, and that is the vigorous pursuit of
being “in the field.”
When Nakada is on the crowded Nanjing East Road in
Shanghai during the Miracle Hour, he wants to be in-
visible.
“I try to eliminate - or downplay my presence when
I’m a street photographer,” Nakada said. “It is impor-
tant not to make people conscious of the photography
at all - and not to interact with the subjects.”
If Nakada does have conversation with any of his sub-
jects, he’s lived in Shanghai long enough to under-
stand the basic dialects.
“A good street photographer cannot be timid,” Nakada
said. “It’s necessary to be bold, and push forward -
even if you are noticed. Spirit and courage in pursuit
of street photography is important.”
Nakada admits that some times people in the street
stare at him when he has his camera, some times yell
at him with indelicate language, while others have
even chased him.
“This is the every day life of a street photographer,”
Nakada said. “And I don't consider it to be difficult at
all.”
Nakada may be an engineer by background and train-
ing, but his real vocation now is photography and he
challenges himself to generate over 2,000 photos a
day.
“The images that I shoot don't have any special themes
or messages to convey,” Nakada said. “At some level, all
street photographers understand that every image of
other people is really a self-portrait. The street - wher-
ever it is located, is the ‘sea of curiosity.’ I don't think
that there is any other space that's filled to such an
extent with so many changes.”
For Nakada, this ‘sea of curiosity’ allows a photogra-
pher to gain significant self-knowledge.
“The real challenge of street photography,” Nakada
43. 43
Hiroyuki Nakada
said, “is to confront what is lurking in my heart and in
my soul. I do this by being in the midst of other peo-
ple and capturing without fail in my camera what
moves me. I never know how long I can maintain my
strength to achieve serious insights. But nothing else
in my life has possessed me like this.”
As far as photographic techniques are concerned,
Nakada doesn’t take this seriously.
“I've never had any, “ Nakada said, “yet …well, let me
say that my intent is to stand alone before my subject
and press the shutter of my camera without even
being aware of doing so, even at a close distance of 30
cm.
Nakada thinks that a street photographer needs no
special techniques, only a strong determination to
capture his subject without fail.
“All that matters is this conviction,” Nakada said.
During his 10-year odyssey as a street photographer,
Nakada has moved from the Ricoh GR II-to-the Fuji
X100T, and now has a serious infatuation with the
Sony a7 - not exactly a pocket-size compact camera.
Yet if the results are outstanding, it doesn’t matter
about camera choice. But knowing this to be true …
how many street photographers, the real addicts, can
resist another new camera?
In Nakada’s case, the Sony a7 might be what he uses
most these days, but he still has his other cameras -
all at the ready. Should a golfer play 36-holes with
only a nine iron?
Regardless of camera choice, Nakada is a firm believer
in thinking for himself when he’s in the field.
“In short, I will not use anything other than manual
mode,” Nakada said. “The shutter speed is 500-650,
and the aperture is f16-f22 … and the pin placement
is 0.6-1.0. The ISO is auto.”
As much as possible, Nakada makes all necessary set-
ting adjustments at the beginning - before he starts to
get serious on the street. This way he’s free to follow
his passion. Any mistakes Nakada makes, he can usu-
ally correct them in post-production through Light-
room.
47. 47
Hiroyuki Nakada
Several contemporary Japanese photographers like
Tatsuo Suzuki and Takaaki Ishikura - to name just a
few, like to be on the streets of Shinjuku in Tokyo at
night - yet this is not for Nakada.
“This goes back to the issue of natural light, and what
appeals most to me,” Nakada said. “I’m not even in-
terested in fill-flash.”
And for this street photographer, film choice is always
B&W - which Nakada says makes him more imagina-
tive.
The Chinese government is known as one of the most
totalitarian in the world, and so it’s no surprise that
the internet is tightly controlled by President-for-Life
Xi Jinping.
No Facebook. No google. No Twitter. No LINE. No
Instagram. No YouTube. No bueno.
This helps account for why so many from the bur-
geoning Chinese middle-class beat it to both Seoul
and Tokyo for a brief taste of freedom. And yet Shang-
hai-based Nakada manages to feature his photogra-
phy regularly on various Facebook pages.
“I access Facebook in Shanghai, “ Nakada said, “by
using VPN (virtual private network). It’s no problem.”
To assuage his need to re-connect with “home,”
Nakada returns to Tokyo about every three months.
The Tokyo scene is just as lively as ever, with a younger
group - all affected by Daidō, are actively involved in
Tokyo Void, a group that prominently features Tatsuo
Suzuki.
“I have no direct involvement with the group,” Nakada
said, “but some of the members are acquaintances. I
have a chance to talk with these street photographers
whenever I’m in Tokyo. What they’re doing is always
exciting and inspiring.”
Next on the horizon for Nakada is a photography
exhibition in the first half of next year - somewhere
outside China. Of course there is also talk of a major
coffee table book of his photographs.
What’s not to like about such plans?
48. in this issue
Niklas Lindskog
“When I look at my old negatives, I realize I shot something
similar to street photography right from the start.”
Jinn Jyh Leow
“Pure serendipity – that’s how I discovered Street Photography
and that’s what I love about it."
Progressive Gang : Alexander Mercado, Alphan Yilmazmaden, Batsceba Hardy, Davide Dalla Giustina, Fabio Balestra, Gerri McLaughlin,
Jinn Jyh Leow, Karlo Flores, Kevin Lim, Lukasz Palka, Marion Junkersdorf, Mark Guider, Michael Kennedy, Niklas Lindskog, Orlando Durazzo,
Peppe Di Donato, Robert Bannister, Siddhartha Mukherjee, Stefania Lazzari
Hiroyuki Nakada
may be found on YouTube at:
https://www.youtube.com/watch?v=jRY58T6Tds0
Peppe Di Donato
“In the street there is always something to discover and to
capture in one shot.”
