Prague is calling, my bag is getting packed, and I’m thinking about the kind of street photography that actually says something about modern cities. Over-tourism is one of those subjects that’s both visually rich and slightly grim: tacky souvenir shops, tourist menus, crowded streets, and a place that starts to feel like a theme park for weekenders. It’s great for photographs, but it raises bigger questions about what gets lost when a city becomes a product. 

Before I hit the road, I sit down with Neil Johansson, a street photographer I’ve watched grow for over a decade. Neil is a passionate amateur with a seriously distinctive eye: conceptual, often abstract, and strongly rooted in black and white. We talk about how his work took shape, from early photography at school through a key Royal Photographic Society competition result and the Goldsmiths International Urban Photography Summer School. We also get into influences done properly: taking inspiration from photographers like Saul Leiter and Daido Moriyama, plus cinema and art, while still making images that feel like yours rather than a tribute act. 

You’ll hear practical, grounded ideas on finding your voice, shooting without an agenda, and why long-term projects can be the difference between coming home empty-handed and building real bodies of work. Neil shares what he’s working on now, how he thinks about zines and books, why competitions can be a numbers game, and how printing changes your relationship with your own photographs. We even detour into camera collecting, Ricoh GR love, and the pull of monochrome. Subscribe, share the show with a photographer friend, and leave a review telling us what you’re shooting next.

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LINKS FROM TODAY'S SHOW:

Neil's Instagram

Neil's website

StreetSnappers workshops

London can make you feel like you have lost your eye. You walk for days, you chase the same old 'street moments', and somehow the city gives you nothing back. We talk candidly about that exact feeling and why it is not just a bad patch, it can be a sign that your work needs a real change. The big question I keep returning to is simple: if you do what you have always done, will you get what you've always got?

To jolt the creativity back into motion, Imake a serious commitment: from 1 July I am shooting black and white only, on a 28mm lens only, for at least six months. No colour. No swapping focal lengths. Just one tight creative constraint designed to change how I really notice light, shape, gesture and composition. If you have been stuck with street photography, documentary photography, or your personal projects, this is a practical experiment you can borrow.

I also answer listener questions with a no-nonsense post-shoot workflow: importing and culling fast in Photo Mechanic, embedding copyright and keyword metadata for archiving and SEO, then doing only basic darkroom-style edits in Adobe Camera Raw or Photoshop.

From there we jump into one of my favourite photo books, Sergio Larrain’s 'London 1959', I share thoughts on cropping and aspect ratios  and I have a big rant about empty street portraits made without purpose. Finally, we head to Lisbon with a detailed street photography guide covering light, neighbourhoods and how to get around.

Thanks for tuning into the StreetSnappers Street Photography Podcast. Do subscribe for the next show, share this with a photographer who feels stuck, and, if it resonates, leave a review so more people can find the podcast.

LINKS:

Sergio Larrain's book 'London 1959' - here

Subscribe to Brian's street photography newsletter - here

Book a street photography workshop with Brian - www.streetsnappers.com

The camera that improves your street photography might not be the newest, fastest, or most expensive, it is the one you cannot stop picking up. We dig into what makes certain cameras feel 'alive' in the hand, why that emotional pull leads to more shooting, and how early experiences with classics like the Zorki 4, Rolleiflex, and old-school rangefinders can shape the way we see. If you have ever wondered why a Leica or a Fujifilm X100 feels different, we get into the real reason without drowning in tech.

From there, we tackle a question that keeps coming up for UK photographers: is the Royal Photographic Society (RPS) worth it for street photography? We share a straw poll of member experiences, including distinctions like LRPS and ARPS, the value of groups and days out, and the frustrations that can come with cost, access, and judging. The takeaway is practical: match your membership to your goals, and be clear whether you want structured progression or freedom to build your own projects.

We also get hands-on with the everyday kit that keeps you moving: wrist straps versus neck straps, what to prioritise for comfort and speed, and a useful London stop for coffee when you need to reset mid-shoot. Then comes a frank rant about street photography Facebook groups, why low standards get rewarded, and why smaller, critique-led communities often produce better work.

Finally, we make a strong case for shooting square. The 1:1 format changes pacing, simplifies clutter, makes the centre powerful, and can shift the emotional tone of your images. Try a square project on your next walk, then subscribe, share, and leave a review if it helps. What camera, group, or format has genuinely made your street photography better?

SHOW LINKS:

Wotancraft straps & bags  www.wotancraft.tw

Check out my workshops  www.streetsnappers.com

Watch my YouTube videos www.youtube.com/streetsnappers

Follow me on Instagram www.instagram.com/streetsnappers

Join the Facebook Community - www.facebook.com/groups/streetsnappersworldwide

Street photography ethics

Street photography is supposed to be about real life, but the moment you point a camera at a stranger, you step onto an ethical fault line. We wanted to tackle the questions that make people defensive, angry, or quietly unsure: when is candid photography fair, when is it intrusive, and when does a “great shot” come at someone else’s expense?

We dig into consent as the core dilemma and break it into something more usable: implicit consent in public space, post-shoot consent through engagement, and explicit consent when you ask up front. We also talk about the gap between what’s legal in the UK and what feels right, especially when a photograph removes someone’s agency even if the law allows it. From there, we take listener questions and get frank about exploitation: photographing homelessness, distress, or vulnerability can either serve a genuine documentary purpose or slip into aestheticising hardship for attention.

Context is the hidden trap. A street photograph can be “true” and still misrepresent through framing, timing, cropping, sequencing, and captions, and once an image is online you lose control over how it is read. We also look at cultural sensitivity when travelling, the risks of 'othering', and why photographing children demands a higher standard because safeguarding and downstream use matter as much as the click itself. We wrap with the point that keeps resurfacing: intent matters, but impact is what the subject lives with.

If you’ve ever hesitated before taking a shot or second-guessed one afterwards, you’ll find practical ways to think it through. Subscribe, share the episode with a photographer friend, and leave a review, then tell us where your own ethical line sits.

Check out my workshops  www.streetsnappers.com

Watch my YouTube videos www.youtube.com/streetsnappers

Follow me on Instagram www.instagram.com/streetsnappers

Join the Facebook Community - www.facebook.com/groups/streetsnappersworldwide

Big events can make street photography easier, but only if you stop aiming at the obvious target. I’m heading to Liverpool for Grand National weekend, not to photograph the racing, but to work the city centre where the real street stories unfold: early-morning pubs, people in finery, high spirits, bad decisions, and that brilliant collision between everyday streets and “special occasion” behaviour. If you want more keepers, the margins are often where the emotion and character live.

Then I’m joined by Derek Darke, founder and editor of Klick Magazine, a print magazine made for street and documentary photographers by the people who actually shoot it. Derek shares how Klick was born from the buzz of seeing images in print, why every submission needs at least some words, and what makes him lean in when a WeTransfer lands in his inbox. We get practical about what gets rejected, why projects frequently beat single shots, how the quarterly edit and layout process works, and why niche print publishing still has real space in a digital world.

We also tackle listener questions, including the Ricoh GR3 battery life and dust concerns, plus how I keep Venice fresh after years of returning by working clear street photography projects and matching locations to light and weather. I wrap with news on my Leica-focused London workshop with zone focusing, a new critique-driven Street Snappers Worldwide group, and a reminder about the Dublin Street Photography Festival.

If you enjoy thoughtful street photography chat, subscribe, share this with a street photographer pal, and leave a review so more people can find the show.

LINKS:

Klick Magazine: https://www.klickmagazine.com

Dublin Street Photography Festival: https://www.dspfestival.com/

My Dublin 1-day workshop: https://streetsnappers.com/dublin-street-photography-workshops

My street photography workshops: https://www.streetsnappers.com

Monochrome-only cameras, contest culture, comfort zones and the eternal “does expensive gear matter?” debate all collide in a spring-bright Street Photography Podcast that starts with Venice energy and ends with a Negroni done properly. I dig into the most repeated bit of street photography advice and push back on the macho idea that stress equals better work. For some photographers, staying within your limits is not laziness, it is the route to consistency, focus - and photos that actually say something.

Listener questions take us straight into street photography competitions, from big international awards to the camera club circuit. We talk entry fees, judging, trends, and why 'winning' can quietly steer people towards contrived images and tired clichés. Then we tackle camera gear head-on: if two people shoot the same scene with the same settings, will a Leica beat a Fuji every time? My view is that modern cameras are excellent across the board, and the real differences often come down to lenses, rendering, and what you choose to look for.

The gear slot goes deep on monochrome cameras, including Leica Monochrom-style bodies and newer options like a monochrome Ricoh GR4. They can be spectacular for black and white street photography, especially in low light at high ISO, but the limitations are real when colour is the point. 

Along the way there’s a book recommendation (Magnum Streetwise), a rant on why definitions of street photography matter, and a news round-up with exhibitions and events in London plus a quick trailer for an upcoming interview with Klick magazine’s editor.

If you enjoy thoughtful street photography talk without the hype, subscribe, share the episode with a friend, and leave a review. What topic do you want us to tackle next?

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Links from today's show:

Street photography workshops & resources - www.streetsnappers.com

Klick magazine - here

Magnum Streetwise book - click here

Street photography doesn’t start with bravery, it starts with belonging. While juggling another Venice run, we get personal about how childhood habits, walking alone, watching people and loving the town centre can quietly build the foundations of a strong street photographer. If you’ve ever wondered why you feel relaxed on the street or why you feel like an outsider, this one gets to the human side of the craft.

From there I tackle a few of your questions: who might become the 'future greats' of street photography, and how the genre is shifting as aesthetics increasingly drive attention. I also get opinionated about zoom lenses versus primes, with four clear reasons I prefer primes for candid work: less distraction, more discretion, lighter carry, and better image quality.

Then it’s time for a proper gear reality check with the Fujifilm GFX 100RF. We talk medium format detail, the lure of cropping, the lack of IBIS, and the bigger issue for street shooting: speed, responsiveness, and feel in the hand, especially when compared with a Leica Q3.

As a counterpoint to the tech talk, we finish with a classic book review, looking at William Eggleston’s controversial colour photography and the strange power of the mundane, plus a quick news round on The Photography Show, the Irys app, and what we’re planning next.

If you enjoy thoughtful street photography chat, subscribe, share with a pal and leave a review so more street photographers can find us.

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William Eggleston's 'Guide' - https://amzn.to/416nsPB

Brian's street photography workshops - www.streetsnappers.com

Brian's YouTube channel - https://www.youtube.com/streetsnappers

A grey, damp morning in Liverpool turned into a turning point. Over a coffee, we opened an old Lightroom archive and spotted a pattern hiding in plain sight—enough images from Ropewalks to seed a real project. That small reframing changed the day, the week, and the way we hunt for ideas. Instead of waiting for inspiration, we named what we already had and set a plan to grow it. If you’ve ever felt stuck, this is your blueprint for moving again.

From there we get practical. After losing film archives in a flood, storage became a lingering blind spot, until a six‑bay NAS arrived and forced action. We talk through why centralised, redundant backups matter for photographers, how to approach setup without fear, and the peace of mind that follows. We also field a listener’s gear dilemma with straight answers: the Fujifilm X100VI for elegant simplicity, the XE5 for flexibility with small primes, and the Ricoh GR series for pocketable stealth and snap focus. The theme is the same across choices—choose the tool that disappears in your hand so you can see more and fiddle less.

Mid‑career study comes up too: is a photography degree worth it at 44? We unpack motives, costs, and outcomes, and outline when a conceptual programme at places like Falmouth or UAL can deepen your voice—and when targeted mentorship, rigorous self‑projects, and strong editing might be smarter. Then we head to Venice, our favourite proving ground for street work. Fog, rain, and winter light make the city a shape‑shifter, perfect for observational, documentary, and lyrical approaches. We share fresh stories from Carnival, a new 52‑page zine capturing the absurd beauty of masks and alleys, and why winter dates are gold for quieter frames.

Finally, a quick grenade lobbed at “multi‑award winning” posturing and a warm invite into the Street Snappers Collective and Community for critique, learning, and meetups.

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Got a question? Record it on your phone and email it to brian@streetsnappers.com. If this resonated, follow, rate, and share with a friend who needs a nudge back into their archive—what hidden project is waiting for a name?

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The Street Photography Collective on facebook (workshop attendees only)

The Street Photography Community on facebook (open to all!)

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My YouTube channel

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Forthcoming workshops in Venice

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My latest zine is available here

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Grey skies, empty streets, and flat light can wreck a shooting day—unless you change the rules. I open with a simple pivot for winter: treat colour as a subject, lean into graphic shapes, and shift from pure observation to small documentary stories that ignore the weather. From there we get practical about the tool that shapes every outing: the camera bag. I weigh the charm and risks of a Billingham, the low‑key utility of Domke and Lowepro, and why the Wotancraft Pilot has quietly become my daily driver for comfort, capacity, weather resistance, and staying off a thief’s radar.

Listener questions push the conversation beyond gear. The most valuable non‑photo tool? A notebook—because ideas land at awkward times and projects need a place to grow. I also talk boundaries with an Apple Watch that tracks without nagging when the camera is in hand. Then I tackle the age‑old frustration of barren streets: projects over wandering. Define a theme and you’ll start noticing frames you used to walk past, even when the city feels asleep.

For a dose of joy, I cue up one of photography’s best sounds: the Pentax 67 shutter. Medium format’s weight comes with reward—tonality, presence, and negatives that sing. I share favourite lenses for the 67, a surprisingly good experience buying from Japan on eBay, and a reality check on airline scales. My weekly hand‑grenade lands on sharpness: useful, yes, but not the grail. Blur, grain, and near‑miss focus can bring breath and urgency when content leads. Finally, I flag what to see and read next: Martin Parr’s early Irish work at The Photographers’ Gallery, LensCulture Street Photography Award winners, Mark Cohen’s Tall Socks, plus a Soho pit stop at Bar Bruno for the best bacon butty and a front‑row seat to the street.

Enjoy the ride, steal the tactics, and tell me how you keep momentum on dull days. If this sparked ideas, subscribe, share with a friend who shoots, and leave a quick review so more street photographers can find us.

LINKS:

My street photography newsletter - sign up here: https://streetsnappers.com/street-photography-newsletter/

Wotancraft Bags: https://www.wotancraft.tw/en/

My workshops: https://streetsnappers.com

Street photography doesn’t get better by accident; it gets better by intention. I kick off the Street Photography Podcast with a few ideas for a stronger creative year: study one great photo book each week, finish the projects that keep drifting, and lock down an archive strategy that actually protects your work. From a decade-long black-and-white Venice project to a living zine series on London streets, I share the real timelines and choices behind sustaining momentum without losing heart.

The Q&A digs into a key gear question. If you’re weighing autofocus modes on a Leica Q3 (or any 28 mm setup), hear why simple Field AF and classic zone focus still win on the street, and why a Leica Q3 a firmware update is essential. Then we go straight at a thorny craft topic: is photographing the backs of people a lazy dodge or a legitimate tool for mystery? Drawing on Joel Meyerowitz and Saul Leiter, we show how ambiguity can hand the story to the viewer - if intent leads the frame.

We toss a “hand grenade” at overused street tropes - spiral staircases, umbrellas, silhouettes, misted bus windows - and offer practical ways to step out of the echo chamber. To ground it, we bring you a quick Street Session from Liverpool with Robin, a colour-driven eye balancing lunchtime walks, a pocket Ricoh and a 100-year-old film project. Then it’s time to build your desert island bookshelf: Sergio Larrain’s London 1959, Eggleston’s Guide, Fred Herzog’s Modern Color, Chris Killip’s 'best', and more, each a masterclass in seeing.

We close with scene-wide updates: platform shifts toward “authentic” imagery, a new GR4 Monochrome announcement, festival calls, and exhibitions worth your time. If you want to sharpen your vision, finish the work that matters, and break free of copycat frames, you’re in the right place. 

Subscribe, download, and share your thoughts with me - what cliché are you quitting this year, and which book is shaping your eye?

For my workshop information, including the Venice workshops I mentioned, please visit www.streetsnappers.com

Welcome to the first episode of 'StreetSnappers' - the Street Photography Podcast with Brian Lloyd Duckett.

This is a short trailer and a taste of what's to come. In future episodes there will be interviews, tips, techniques, Q&A and news and insights from the world of street photography.

If you have a question for the show, please record a brief audio clip on your phone and email it to me at brian@streetsnappers.com. Please include your Instagram handle if you would like a mention.

Join the StreetSnappers Community on Facebook - just click here.