“Action, emotion, mystery, and/or a story,” says Sean Fryxell to the Phoblographer in an interview when asked about what he looks for in good street photography. “Street photography is extraordinarily difficult because not all actions and stories translate immediately well into a picture. It requires that you think about freeze-framing it just right so there’s mystique.” He continues to state that a photo should stand on its own without an explanation. Indeed, this is how so many of the world’s greatest street photographs have been made.

All images by Sean Fryxell. Used with permission. For more, please visit his Instagram @sfryx and website.

Even if there is a backstory behind it, the backstory shouldn’t be the support structure for the image. 

Sean Fryxell

The Story of Sean Fryxell

Sean Fryxell has photography in his genes. Growing up his mom was and still is into photography. He loved when he was given a chance to shoot because wasting film was always a concern in his household. That changed when digital camera around. “…it was freeing to not have to worry about a cost associated with each shot,” Sean tells us. “I could go out and take shots that were interesting to me. No concerns that I was being wasteful.” While this is bound to concern some photographers, Sean put it to good use when exploring abanonded buildings. He became fascinated with their history — and he felt that their entire story wasn’t being told. This is what connected him to street photography.

As Sean grew up, he stopped doing urbex because of health concerns. So he started walking around NYC with a camera. When taking photos of buildings got boring, he turned to street photography.

“I was quickly drawn to the small stories that ordinary people were a part of,” Sean tells us. “However, the moments were gone quickly – faster than I understood how to react.” Eventually he learned how to approach street photography in what he calls “the right way.”

Sean thinks that any camera made within the last decade is more than capable for street photography. He uses a Fujfilm X100v for his work along with a Godox Lux Junior. He walks around 15 to 20 miles when shooting, so he needs something small, light, and durable.

The Art of Street Photography

Sean goes about shooting street photography in a way that would make any photojournalism professor so incredibly proud. “It’s important to remember that you have to remove the context that you had when you took the picture,” he tells us. “You have to put yourself in the viewer’s shoes. Often, they’ll have no or limited context, so the photo really needs to stand out on the image alone or collectively in your series with no context.” That’s to say that the image needs to work better by itself and not have to be part of a photojournalistic story to make sense.

With that said, Sean keeps stories in mind all the time when he shoots. “When I’m out shooting, I do often think about current events and try to be dialed in on capturing how people are living their lives with the weight of the world/situation(s) (or no concern, depends on the person!),” he tells us when we ask about what he ponders about his subjects’ mental health. “I’m always trying to capture things that won’t be around forever.” He did quite a bit of this around the COVID era. Despite the horrors of the world, he is fascinated that people adapt well and still find joy.

So I spent a lot of time photographing people in masks (or people without them around people with masks – from a safe distance per CDC regulations at the time!). They really did serve as a reminder of an ongoing threat. Also, the horrifying remembrance that there are several million people who died from this – but people keep living their lives.

Sean Fryxell

He’s About to Piss Someone Off

AI is something that we ask every single photographer about that we interview. And Sean belives that it’s here to stay. “AI art is basically the evolution of some genres of photography and digital art,” he states. “Photography in its current form will live on within documenting genres. To me, this means we are going to have more stringent ethics regarding editing and maybe even a requirement of verification tools/chips within cameras for news coverage.” In fact, the inclusion of verification chips in cameras are one of the reasons why he’d want to upgrade his camera.

Sean even believes that wedding and family photography will devolve into AI imagery — especially because everyone is using weird camera filters and such. But more importantly, he thinks that the landscape genre is a great example of where other genres are going with AI.

“I’m going to offend some landscape artists by saying this, but the genre in its current form is overwhelmingly not truly representative of what was photographed,” he says. “There’s sky replacement, clone stamping galore, significant lighting changes, and more. I’m not arguing for no editing, but there comes a point where we have to agree that it’s not representative of what was in front of the photographer.” He hopes that people will push for more minimal edits in the future.

AUTHENTICITY STATEMENT

The Phoblographer works with human photographers to verify that they’ve actually created their work through shoots. These are done by providing us assets such as BTS captures, screenshots of post-production, extra photos from the shoot, etc. We do this to help our readers realize that this is authentically human work. Here’s what this photographer provided for us.

The Strata Florida Trust begins its programme of courses for 2024 on Friday and Saturday, February 9-10, with an introduction to night photography with Dafydd Wyn Morgan.

The trust is restoring Mynachlog Fawr farmhouse and farm buildings which are located next door to Strata Florida, a famous 12th century Cistercian abbey near the village of Pontrhydfendigaid, between Devil’s Bridge and Tregaron, in the Cambrian Mountains.

Whilst celebrating Strata Florida’s unique landscape and history, the trust aims to bring new economic, social and cultural life to the area.

The trust’s courses programme for 2024 is packed with a range interesting topics and new skills to learn. “Whether you’re looking to try something completely new, or advance a skill, come along and join us,” said Carys Aldous-Hughes, trust director.

“We are proud to be working with many local Ceredigion-based artists and experts, including Marian Haf, Dafydd Wyn Morgan, Nathan Goss and Professor Dafydd Johnston, who will be sharing their knowledge and enthusiasm with visitors.

“We are really excited to be running so many new courses in 2024 and looking forward to welcoming more people to Strata Florida.”

Mr Morgan will be repeating his introduction to night photography on March 8 and 9 and November 1 and 2, whilst also focusing on ‘Photographing the Milky Way on September 6 and 7.

‘Maintaining Historic Buildings’ is the topic for Mr Goss on March 7, while Marian returns to run another of her ‘Printing with Packaging’ workshops on April 18 and October 16.

Brand new courses this year include ‘Spring foraging’ and ‘Autumn foraging’ with Lucas Harley-Edwards on April 27 and September 28 respectively, ‘Words from the Meadow: Creative writing’ and ‘Writing the Dark: Darkness as Inspiration’ with Jacqueline Yallop on May 18 and November 23 respectively and ‘Cistercians in Wales’ with Profession Jane Burton on June 9 and 10.

An archaeology field school ranges from one day to one to four weeks, both residential and non-residential, from June 17 to July 14.

Professor Johnston will turn the spotlight on ‘Barddoniaeth Ystrad Fflur’, which will be delivered in Welsh, on October 28.

To register and find out more about courses, visit https://www.strataflorida.org.uk or contact the trust at [email protected] .

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{Johnson Coe Phillips, owner of Bumbles and Beans Media located at 18-A West First Ave. in uptown Lexington, stands next to the catchy company logo that often brings smiles to passersby. Vikki Broughton Hodges/Davidson Local}

Johnson Coe Phillips, owner of Bumbles and Beans Media, located at 18-A W. First Ave. in uptown Lexington, said he didn’t plan to become a professional photographer but that talent runs in his blood.

“I was always around photography growing up,” Phillips said, noting his grandfather had a dark room in his home and worked in photography as a side job.

In fact, a great-uncle was the White House photographer for three administrations — Dwight D. Eisenhower, John F. Kennedy and Lyndon B. Johnson. Those photographs are archived in the library at East Carolina University.

“The tools have changed but I guess that creativity is passed along,” Phillips said, noting he had access to cameras as a youth growing up in Clemmons and Kernersville and often took photos for school projects.

While he never studied photography formally and is largely self-taught, Phillips said he pursued it as a hobby while he worked for nearly nine years as the “right-hand man” to an eye surgeon in the doctor’s practice, where he picked up videography skills. 

In 2015, he started his own business, Johnson Coe Photography in Winston-Salem, where he specialized in wedding and lifestyle photography. He said because he has a first name that is typically a last name, or three last names, he has always been known as Johnson Coe. “It’s not because I’m in a witness protection program,” he explained with a laugh. “It’s just how most people have always known me.”

Phillips said his business has evolved since then and, about a year ago, he rebranded as Bumbles and Beans Media to reflect the broader range of services offered — videography, photography, drone video and photos, content creation, social media management and website management. He opened the office in uptown Lexington this past May.

The company logo, which shows two raccoons paddling in a canoe with a sunburst behind them, was inspired by a wood carving he purchased years ago. But the raccoons are not named Bumbles and Beans — those names belong to two beloved dogs that have since died. He said the company name is a way to remember his two four-legged buddies that accompanied him on numerous hiking trips where he got interested in nature photography.

A large logo is painted on the front window of his office and Phillips said he gets a kick out of seeing passersby stop to look at it and eventually grin before moving on.

“It’s a lot more fun than something like Johnson Media Company,” he noted.

Bumbles and Beans has a varied client list, ranging from small businesses and nonprofits to a major building contractor, Bermuda Run-based Davie Construction. Phillips noted he has supplied that firm with photography, videography, drone photography and more for their website and social media platforms, which they often share with their clients to show off their new buildings, such as the Truliant Operations Center in Winston-Salem and the new Lexington branch office of Truliant on Lowes Boulevard. Their other clients include medical and veterinary practices, among others.

Small businesses are a growing part of the company’s clientele, including The District Group/EXP Realty in Lexington and the 2nd & Main bar in uptown Lexington. For example, the bar has him shoot videos to announce live music acts or karaoke nights on Reels on their Facebook page.

Phillips said he and his wife, Meredith Phillips, an administrator with Davidson County Schools who is originally from Midway, moved to Lexington about a year and a half ago and have enjoyed getting to know the community.

“I enjoy seeing Lexington grow but retain its small-town feel and roots,” he said. “One of the best things here is the camaraderie of the local business owners. One of my personal goals is to help small businesses succeed and thrive.”

The company has also done work for local nonprofits, including Hospice of Davidson County, the Lexington Tourism Authority and Uptown Lexington Inc., where Phillips serves on the promotions and design committees as well as executive committee.

As the business has grown he has added employees as well, including Chase Gilliatt, a video editor who is a 2022 graduate of the University of North Carolina at Wilmington with a degree in film production. Veronica Weisner works on social media management and schedules assignments.

While Phillips still offers lifestyle photography and videography, such as weddings and family “mini-documentaries,” it’s no longer a focus of the company. But he still shoots some senior portraits for graduating high schoolers and maternity sessions for mothers-to-be.

“Those are interesting stepping stones and important snapshots in that chapter of their lives,” he noted.

Bumbles and Beans Media has a website and is on Facebook and Instagram. The telephone number is (336) 300-8247.

The world’s most stunning landscapes have been celebrated in the tenth International Landscape Photographer of the Year, as the competition winners are revealed. From over 4,000 entries spanning the globe, with photographers both professional and amateur showcasing their talent, Australia’s Tony Hewitt was crowned the overall winner. 

Hewitt’s portfolio consisted of four captivating images highlighting his rich visual storytelling and technical prowess. His abstract aerial images show the world in a unique, artistic manner capturing the beauty, colors and shapes that make up the varied landscapes of Earth. 

Following closely behind in second place was Andrew Mielzynski, from Canada, while Matt Meisenheimer from the USA clinched third place. Each photographer demonstrated exceptional skill in capturing the beauty and essence of the world’s landscapes with a diverse view through their lens. 

In addition to the top honors, special awards were presented to photographers whose work excelled in specific categories. Jim Guerard from the USA received the Black & White Award, while Casey McCallister from the USA was honored with the Aerial Award. Canadian photographer Thomas Vijayan, Ciaran Willmore from Ireland, and John Seager from the UK were recognized for their outstanding contributions in the Snow & Ice, Seascapes, and Desert categories respectively.

The esteemed judging panel consisting of renowned experts in the photography world – including David Burnett, Tim Parkin, Benjamin Briones Grandi, Kaye Davis, and Jim M Goldstein – meticulously reviewed each submission, selecting images that captivated them the most. 

Reflecting on a decade of showcasing the world’s finest landscape photography, chairman of judges Peter Eastway expressed gratitude to all the photographers who participated in the competition. He also extended appreciation to the panel of judges whose expertise and discernment ensured a diverse selection of images, ranging from classic to contemporary, and single captures to composite works.

The International Landscape Photographer of the Year competition continues to serve as a platform for photographers worldwide to share their vision and passion for capturing the beauty of nature’s landscapes. 

As the tenth edition comes to a close, enthusiasts and admirers alike are invited to immerse themselves in the breathtaking imagery that defines this prestigious competition. Check out the full results and image gallery at the awards page.

Take a look at the best cameras for landscape photography, along with the best lenses for landscapes, and check out these landscape photography tips.

Sixty years after the Beatles appeared live on “Ed Sullivan,” McCartney reflects on his photos capturing those halcyon days. The Brooklyn Museum will exhibit them, and some will be for sale later.

We Feed The UK celebrates regenerative farming and sustainable food production across Britain, and will tour the UK until April 2025. 

‘Farmers and food producers are crucial players in our fight to tackle the climate and biodiversity crises. Across the UK, regenerative farmers are galvanising communities to think differently about how we produce and consume our food.’ 

It doesn’t take long to see where Ally Nelson is coming from. As the lead on The Gaia Foundation’s major new project, We Feed The UK, she’s spent recent months working alongside some of the most progressive agricultural operations in Britain, with one clear goal. Bring these vital businesses together with talented photographers and spoken word artist who can creatively articulate and convey why these people, and their efforts, need to be celebrated and recognised by the general public. 

Opening on Thursday 8th February at Liverpool’s Open Eye Gallery, the exhibition is a follow up to We Feed The World, which spotlit smallholders across the globe with a similar objective — bust open the myth that in order to provide enough food for everyone, society has to rely on industrial agriculture.  But this time round the focal points are much closer to home, with organisations plucked from England, Northern Ireland, Scotland and Wales. 

‘We Feed The UYK will help the public cultivate a stronger connection to local food and influence other farer and food producers to transition towards regenerative practices,’ Nelson continues. ‘[It] celebrates their role as custodians of sea, soil and seed, through he powerful mediums of photography and spoken word… With exhibitions taking place across the UK in 2024-25.’ 

The range of projects included is dazzling and almost dizzying. In Wales, where 80% of the land is used for farming, The Penpont Project is a leading example of agroforestry leading to afforestation and eco-tourism with an educational element. Amazingly, this is led by a co-management council of including young people aged between 13 and 18 years old, alongside tenant farmers, the Action for Conservation charity and landowners. Ifor ap Glyn’s poetry and images by Andy Pilsbury help showcase this best-in-class endeavour. 

Elsewhere, the Black Country’s No Diggity is nourishing soil devastated by the toxic legacy of the region’s industrial revolution, with six allotments running with a no-dig, organic, zero waste approach. Ayesha Jones’s stunning shots are complemented by the words of Polish emigre in Birmingham, Borden Piasecki.

In the capital, Go Grow With Love and Black Rootz are respectively teaching residents in Tottenham and Haringey agricultural skills — from nursery age kids to the adult community, and establishing the first multigenerational Black-led growing enterprise. Both are contributing to tackling the racial inequalities endemic in sustainability and climate industries and action, with just 6% of green charity staff identifying as a person of colour and minorities far more likely to have limited access to nature compared with white Britons. 

Sustainable fishing with Sole of Discretion (C) Jon Tonks

Meanwhile, in Cumbria James Robinson’s 300-acre farm is using habitat restoration to help bring back pollinators which three-quarters of our food crops rely on but are rapidly disappearing from our the UK countryside.  Efforts Johannes Pretorius has immortalised in photos and rapper, playwright and beatboxer Testament conveys with prose.

Elsewhere, incredible endeavours in Edinburgh (the 100-acre Lauriston Agroecology Farm urban growing plot),  and Eastbourne (where Sole of Discretion has become the first ever fully traceable fishery in the country) are also included, with input from creatives such asJon Tonks, Street Level Photoworks and Lua Ribeira. 

‘We Feed The UK is important in getting positive stories to the public – the current vilification of farmers needs to stop. There are small pockets of us trying to be better, which We Feed The UK can help the consumer see and understand, whilst also offering hope to farmers stuck in an imperfect system,’ says Stuart Johnson, Soil Farmer of the Year 2023, whose family farm in Northumberland benefits from home brewed compost, a chemical-free approach which is restoring vital nutrients to the ground.

‘This project proves that there are other ways to do it that can not only enhance biodiversity and battle climate change, but also bring people together and improve financial performance. Everyone wins and that story needs to be told,’ he continues. 

While it’s easy to centre attention on The Gaia Foundation’s initiative as a purely celebratory process, the future benefits of this project should not be understated. Art and culture are one of the most effective ways of public message delivery, and over the past year we’ve seen evidence of this, from a research programme commissioning artist to produce ‘climate comics‘ to the launch of a new sustainability film competition in British schools. 

With the need to start thinking much more carefully about what we eat, how much, and where that food comes from only growing in urgency, and agriculture currently accounting for 10% of Britain’s overall emissions, but 69% of total nitrous oxide and 48% of all methane emissions. Not to mention the devastating impact on biodiversity and habitat. With this in mind, projects like We Feed The UK are more than interesting ideas — they are vital engagement drivers, and supporting the is essential. 

We Feed The UK will operate monthly residences with specific focal subjects over the next 14 months:

• February – Agri-culture: A Lineage of Hedgerow Ligging | Inspired by Strickley Farm, Cumbria | Poetry by Testament | Photography by Johannes Pretorius | Exhibited at Open Eye Gallery in Liverpool
• April – Cultivating Equality: Women Working with Land | Inspired by Grampian Graziers & Lauriston Agroecology Farm, Scotland | Poetry by Iona Lee | Photography by Sophie Gerrard | Exhibited at Street Level Photoworks in Glasgow 
• May – No Diggity: Keeping Carbon Underground | Inspired by No Diggity Gardens, the Black Country | Poetry by Bohdan Piasecki | Photography by Ayesha Jones | Exhibited with Multistory at No Diggity Gardens in Walsall
• June – Custodians of the Land: Intergenerational Nature Restoration | Inspired by Penpont Estate, Wales | Poetry by Ifor Ap Glyn | Photography by Andy Pilsbury | Exhibited at Penpont Estate in Wales
• September – From Crisis to Kinship: Healing People and Place on England’s First Community-Owned Farm | Inspired by Fordhall Organic Farm, Shropshire | Poetry by Jasmine Gardosi | Photography by Aaron Schuman | Published with GRAIN Projects as an immersive book
• October – Food Justice: Served Fresh from Community Farms | Inspired by Go Grow With Love & Black Rootz, London | Poetry by Zena Edwards | Photography by Arpita Shah | Exhibited with Photo Fringe in London and at ONCA Gallery in Brighton
• November – Down to Earth: Restoring our Soils | Inspired by Wharmley Farm, Northumberland | Poetry by Kate Fox | Photography by Johannah Churchill | Exhibited with NEPN (North East Photography Network) at The Sill: National Landscape Discovery Centre in Northumberland

2025:

• January – Fibre: Nature-Friendly Flax Farming | Inspired by Mallon Farm, Northern Ireland | Poetry by Abby Oliveira | Photography by Yvette Monahan | Exhibited at Belfast Exposed in Northern Ireland
• April – In Deep Water: Sustainable Fishing | Inspired by fishers along the South coast | Poetry by Chris Redmond | Photography by Jon Tonks | Exhibited at Martin Parr Foundation in Bristol 
• April – A Food Revolution Starts with Seed: Grain Rebels | Inspired by Gothelney Farm and Field Bakery, Somerset | Poetry by Dizraeli | Photography by Lúa Ribeira | Exhibited at The Royal Photographic Society in Bristol