women photographers

New York Streets from A to Zi

June 18, 2017 by Casey Meshbesher

Street views from Daina-zi, interviewed by Jennifer Tonetti Spellman

How long have you been shooting street?

I don’t really know. I did some in my late twenties, but then moved to NY wine country upstate. And living on a farm, street photography was not an option. Eventually we moved back closer to the city. I got back into street photography when I got my first digital camera about 10 years ago.

What camera do you shoot street with? Digital camera/film etc.

I shot with a Sony A 6000, but my son gave me, as a Mother’s Day gift last month, a Sony A7II. I have wanted a digital full frame camera for years, however, it was out of my price range, so I am thrilled to have it now. When I was young and shot film, I had a Leica M4 which was my favorite camera. But now I am happy with digital, and film is simply too expensive for me. I also do not want to deal with processing my own film anymore. I no longer have the patience, energy or time for that.

Why do you shoot street?

People interest me more than anything else. And the unpredictability of street photography is also an important component for me. When one shoots pre-arranged situations or static ones, the experience is relatively predictable. One has time to pick and choose. But, when one has to react quickly, as in shooting the constantly changing street conditions, then one’s subconscious comes into play, and street photography becomes a form of self-discovery. One reacts without much forethought, and what one captures may be telling and surprising. As you can see, self-discovery is something that interests me.

Some choose to shoot more predictable situations by choosing mostly similar subjects, even in street photography. And there certainly is an element of surprise within those parameters, but it is limited by seeking a style, situation or subject. It is a repetition of the familiar, and there is more predetermination in that than I would like. I grab whatever I am drawn to in the moment.

I think one of the most difficult things to know is oneself, and here I am almost 76, and still trying to figure myself out. The trouble is, one is constantly changing. So yes, I guess street photography is, for me, a way of understanding myself. It is other things as well of course. I love the challenge of it and the occasional synchronicity at what chance, or “fate,” places in my path.

How would you describe your style of street photography?

I don’t really have a style beyond the limitations of my awareness or what attracts me. There probably is a thread linking the images, but does it add up to a style? — I don’t know.

You were born in Latvia but grew up in Brooklyn and now reside upstate. Though you were in America most of your life, do you feel your culture at all influences your style?

I don’t think so. All my exposure to art and photography and literature is firmly rooted in America and the English language. The culture of Latvia, though very important when I was growing up, was mostly limited to folk songs and the language itself, which has a sensibility all its own as all languages do, but it was not linked to the arts such as painting, photography and literature. And Latvia itself did not seem quite real to me, since I don’t have any memories of it. It almost seemed like an invented place. The Latvian culture may have had a hand in shaping my perceptions and that in turn may have affected my work, but I have no way figuring out in what way.

Are you more of a mover (constantly walking/chasing etc.) or a waiter (seeing backgrounds and waiting for the “right” person to walk into frame)?

Mover most definitely, however age is forcing me to become a waiter. I walk, walk and then have to find a place to sit.

Do you speak to people on the street or is most of your work done with the subjects unaware?

New Yorkers tend to talk to each other — I love New York for that. But I like to capture the subject unaware, and very rarely process a photo where the person has posed for me when they became aware of my camera. I often get into conversations, but rarely use the photos that may result.

What helps you decide B+W versus color, and is that something that when you shoot you know which route you will take? Or does the decision happen in post processing?

It is always in processing. Since I try not to preconceive what I am photographing, I do not know what I have until I bring it up on the computer. Often, on the train home, I go through the photos on the screen of the camera, but am often wrong in my appraisal of what I have shot until I see the photo enlarged on the computer.

Favorite part of NYC to shoot in?

Midtown for sure. When young, I worked and lived Midtown, so I feel most at home there. Besides, now I need places to sit down and Midtown is the most accommodating.

Do you think you are at an advantage as a 75 year old female shooting street? (i.e. less threatening on the street?)

Yes, and no. Being the little white haired, non-threatening old lady certainly has its advantages, but at times it works the other way, and someone who might object to having their photo taken has no qualms in confronting you.

I know as photographers, all our images are our “babies,” but do any particular images make you stand more proud when you think “I got it!” ?

Yes, the ones that surprise me most, or the ones that I think of as going beyond my usual. However, the photos that fall into those categories change all the time. How I perceive my own work is always changing.

If you didn’t/couldn’t shoot street what other genres of photography intrigue you?

That is something I need to figure out. It is getting more difficult for me to do street photography. I guess what I would gravitate to would be abstract images — compositions. I wanted to paint when young, and this would seem to be the natural choice, yet I can’t say I am happy about it.

Any influences, photographer-wise, whose work you are drawn to, be it street work or other?

The photographer I loved most when young was Andre Kertesz. I came to admire Ralph Gibson, Diane Arbus, Robert Frank, William Eggleston, Richard Avedon and many more. There are many I follow on Instagram and Flickr whose work I admire. However, I often question the idea of influence, because even when one tries to do something similar to whomever one admires, the results are so very different, so does the influence really matter?

Any words of wisdom to your fellow women out there as they navigate the world of street?

The primarily male dominated photography world has become more accepting of women photographers. I have seen it evolve slowly over my 75 years. However, women street photographers are still included mostly as tokens in collectives, and what street photography is, or is not, is defined in large part by the male ethos. I wish for my fellow women street photographers to have the confidence in their vision, and to challenge the status quo so that eventually there is parity.

Daina-zi | Website | Instagram |

Guest interviewer: Jennifer Tonetti Spellman

A Senior in Transition

June 11, 2017 by Casey Meshbesher

Lisa Guerriero speaks to Julie Grace Immink about her personal photographic journey with her aging father, for #SheSpotsSeniors

Julie’s father, Joey “Dice,” at a local diner close to his new assisted living facility, in Los Angeles.

Please tell us a little about yourself and how you became interested in photography.

I live in Los Angeles but I grew up on the Jersey Shore. Exploring the streets with my camera is how I began to connect to my surroundings. I bought my first film camera and began shooting when I was fourteen years old. Coming of age, I felt like an outsider but also wanted to belong. Photography gave me the ability to be part of something while also maintaining my autonomy.

For over ten years I shot film and hand printed all my work in a darkroom. As much as I loved the process I shoot mostly digital now with a Canon 60D.

Do you think being a woman affects your access to photographing strangers on the street?

Photographing strangers is my hidden talent, the stranger the better. Not sure if being a woman has anything to do with the ease of the process for me.

Princess Darla- A women who carried around a ventriloquist dummy on her lap everyday to make people smile. She lived in section 8/subsidized housing in downtown San Diego.

Showgirls — Women waiting at a bus stop in front of a strip club on Hollywood Blvd.

Quite a bit of your work includes senior citizens. What is it that draws you to photograph them?

My inspiration comes from anyone who is perceived to be on the outside of mainstream society. Sadly, seniors are often put into this category.

Squares — Square dancing couple at a hoedown in California.

Angie and Honey — She was my neighbor in Julie’s childhood home in New Jersey. Julie’s brother bought Angie the dog so she wouldn’t have to live alone.

Joey’s neighbor, Ted, in their New Jersey mobile home park.

Is there a different mindset between shooting on the street and photographing your dad and his neighbors?

When I am taking pictures the connections I make with people and spaces are equally as important to me as the photographs. If I am photographing on the streets, or in someones home the process is exactly the same. I aim to make connections and hope it translates well into a photograph.

Joey’s neighbor, Helen, watching her game shows in her NJ mobile home.

What inspired you to begin photographing your father and his neighbors?

After my parents divorce, my dad, Joey “Dice,” moved to a mobile home park in New Jersey. He lived there until last year, when he was hospitalized for mental health issues. It was then determined he could no longer live alone. We had to abruptly relocate him from the mobile home park where he lived for the past 25 years. He came to live with us in Los Angeles. I had a newborn baby, and my dad needed more medical attention then I was capable of giving. He needed assistance managing his insulin for diabetes, depression, etc. So, we found an assisted living facility down the street from us. He has adapted to his new environment and is doing well. I wanted these photographs to tell the story of aging and how community shapes our identity.

Joey’s New Jersey mobile home neighbors.

Did you find it difficult to photograph your father’s neighbors in their homes?

My camera gives me access into unknown worlds. The thrill of the connection to the people and their space motivates me to shoot. People fascinate me and I view it as a privilege to capture them in their natural environment. I do respect their need for privacy but I think that my subjects are honored to be noticed.

Joey’s new friend, Carrie, at a local diner near his assisted living residence in Los Angeles.

How do you compare your street photos to your ongoing “Transition” series?

On the streets I encounter seniors with various health issues every time I’m shooting. My feelings on how we handle aging and mental health in this country are present in both projects. My emotions just run deeper surrounding the photo series about my father.

My father will be relocating again within the next year to a new assisted living facility so, I’ll continue to document his adaptation to his new surroundings.

Elvis mirror in Joey’s New Jersey bedroom.

Joey “Dice” admiring a classic car at a local car show in Los Angeles. One of his favorite pastimes.

Julie Grace Immink | Website | Instagram |

Guest Interviewer: Lisa Guerriero

Back Story

June 9, 2017 by Casey Meshbesher

Andrea Torrei

Tzen Xing

Orietta Gelardin Spinola

Jennifer Tonetti Spellman

Guest curator Barbara van Schaik, who runs the Shots of Backs are Boring street photography group on Flickr.

Galia Nazaryants

May 18, 2017 by Casey Meshbesher

Street Chat

Please tell us a little about yourself. Where are you from, where do you live now? Your background with photography, how and when you were drawn to the street genre.

I was born and raised in Russia, and have been living in Cyprus for almost 20 years. My photographic journey began in 2003 when I went to study interior design — I was always fascinated with homes and structures. My love of photography emerged then, but it was only in 2014 that I decided to take it to another level by attending workshops, and submitting my work to competitions. First prize at the 2014 Vienna International Photo Awards was a breakthrough that gave me strength and desire to follow that path. In 2015, I held my first solo exhibit in Limassol, where I live. From there the exhibit traveled to La Quatrieme Image in Paris. 2016 surprised me with two assignments I got from The Wall Street Journal, first was in Cyprus, second in Israel. But my main interest always was, and remains in the street. I love the magic of unposed photography, and my subjects are always genuine. I am fascinated with genuineness — hence the street genre.

How do you define “street photography” for yourself?

Street photography in my point of view is anything photographed in the street, and that is my main field of activity. I wouldn’t call myself a street photographer though. I try not to stick to the common approach of the street photography, i.e. catching funny and ridiculous situations, etc. I am out there to collect magic moments, and try to do it with a fine art approach. I look at each of my shots as if it would be a painting, preferably with a surreal feel, and with the right composition, harmonious lines, shapes and colors.

Does your local situation affect how you are able to shoot? Is there a political climate, social attitudes (or laws) about photographing people in public, or another local factor?

Photographing in Cyprus is not difficult. It is a tourist destination, so I suppose people are used to seeing a camera in action. My problem is that I almost don’t even shoot where I live — my main inspiration being newness, a fresh sight, the unknown — that’s why my photography goes hand in hand with my travelling. I also feel that staying long periods of time without shooting allows me to accumulate energy needed for the next trip, and all my trips therefore become very productive.

In what ways do you think being a woman has affected your work?

I think being a woman probably brings more delicate and respectful approach towards people in the street, but generally I don’t like that division. We are men and women of course, but first of all we are human beings. There are people sensitive and heartless, compassionate and hateful, warm and mean, etc. And it is not ruled by sex.

Color or black and white, digital or film?

When I started photographing seriously back in 2003, I’d been using film for a year only. Then I switched to digital, as photography was both an inspiration and a useful tool during my studies. The digital camera was a source of enormous creative possibilities and ideas for me. Since then, I stick to my Nikon with zoom lens, which allows me to shoot a great variety of pictures.

If you see my “Where stories come from” portfolio on Instagram, the answer to the first part of the question is pretty obvious. Color, color and again color!! I still have a few good black and white shots, but these are by-products, as the first thing that catches my eye in the street is “His Majesty Color.”

What photographers can you name who are the most inspirational to you?

Alex Webb is the one who blew my mind with his color photography. Harry Gruyaert is amazing. Nikos Economopoulos made a huge impact on what I am doing now. I’d chosen him for one of my projects back in 2004, during my studies, and again ten years later, when I went to his workshop in Istanbul that brought me the prize in Vienna.

Is there a special project you are working on? Or recurring themes you are often drawn to?

I would call myself an intuitive traveling photographer, looking for beauty in the streets of the world. I don’t want to limit myself to a certain theme or story. That’s why normally I don’t do projects or pursue any particular goal. I simply observe and react and it perfectly works for me.