The Photowalk

This week, Steven Seidenberg is my guest, a photographer, philosopher, and writer whose work focuses on empty spaces, ordinary places, and the things most people pass by. His photographic books include The Architecture of Silence and Pipevalve: Berlin, and his work has been shown internationally, from Europe to the US and Japan. Alongside the photographs, he writes prose and poetry that explore similar themes, examining perception and what it means to truly notice what's in front of us. It's certainly one of our more thought-provoking conversations of late, as Steven even questions what a photograph actually is, if it's not a printed, tangible, tactile thing.
From the mailbag, Andrew Larking writes about self-criticism, sharing a story that touches on depression and the instinct many of us have to try to push through it alone; Richard Rawlings writes about neurodiversity, and Jim Farmer reports on unexpected wildlife encounters that may or may not involve actual alligators a little too close to home! Also today, a chance to join in with a new community feature for 2026 called HERE AND THERE.
Read more about our photographic adventures on our photography travel website, The Journey Beyond.
Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily.
WHY: A Sketchbook of Life is available here.

This week, I speak with Cathal McNaughton, a well-respected international photojournalist and Pulitzer Prize winner. We discuss his biographical film I Dream in Photos, his recent photography in Ukraine that focuses on ordinary life continuing alongside the war brought to their country, and the role family plays in shaping how and why he photographs. 
Along the way, Cathal shares a personal discovery that has refocused attention on him, after a career spent observing others. It becomes a conversation about self-understanding and what it means to keep making photographs when the relationship with the camera itself is being questioned.
From the mailbag, Richard Rawlings pairs photographs with prose as walking helps him appreciate nature, Marilyn Davies nudges anyone still circling a 365 feature, to just start, even if February becomes the starting line, and Jaki G heads celebrates Lisbon's street photo festival, and walking with the celebrated Phil Penman who swapped his adopted New York for the Portuguese capital.
Read more about our photographic adventures on our photography travel website, The Journey Beyond.
Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily.
WHY: A Sketchbook of Life is available here.

This week, I talk with Craig Easton, and the conversation embraces AI, trust in photojournalism, and how a still photograph can still hold its own. But the heart of this chat sits on a Scottish island. Picture a house at the end of a single-track road, miles from anywhere, no shop, no pub, just weather, water, and time. This is Barnhill, on the Isle of Jura, where George Orwell came to live and work while writing Nineteen Eighty-Four. Craig travelled to this fabled place to make his new book 'An Extremely Un-Get-Atable Place'. This is a conversation about place, curiosity, and paying attention. 
On today's walk from the mailbag, Jade Lee discovers just how powerful it can be to swap pictures with people in other countries, Jean-Maurice Cormier shares some thoughts on travel and street photography, and Phil Ferris appears to be listening from the shower in what may or may not become a formal complaint, all while we pack coffee, biscuits, film, and a copy of 1984 into our camera bags.
Read more about our photographic adventures on our photography travel website, The Journey Beyond.
Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily.
WHY: A Sketchbook of Life is available here.

Strangers When We Meet is a street portrait project built as much on conversation as photography. In it, Tim Allen approaches people he has never met, talks with them, and then makes their portrait. Beneath that simple exchange sits a longer story about family influence and a decision to move his life to the town where he now photographs its people. The family thread isn't about cameras being passed down, but about a father who could talk to anyone, and how that way of meeting the world found its way into the work.
We talk about Tim's book, Strangers When We Meet, published to raise funds for St Michael's Hospice, and his return to Artisans, a project documenting people who make things for a living.
From the mailbag: Glenn Sowerby has been making street pictures at big-city football matches. Chris Hughes reckons he may already have made his one big picture for 2026, just days into the year, and Jeff Smeraldo is deep into proper family photographic history. Also today Valérie Jardin returns for the first of our monthly TEACH ME STREET features and she shares news about We are Minnesota, plus there's an invitation to come to Scotland in 2026 and further afield to India, Mongolia and Venice.
Read more about our photographic adventures on our photography travel website, The Journey Beyond.
Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily.
WHY: A Sketchbook of Life is available here.

Late last Autumn, I asked you to send me one photograph you made in 2025. Not a greatest hit and not something that had done well online, just the one you kept coming back to when nobody else was watching. The one you might show a friend and say, "Yeah, this really means something." What arrived was more than I expected.
Over a hundred pictures came in, each with a story attached, some short, some long, some so open it made me pause. The level of trust that this show evokes never feels normal, and this project really brought that home. THE ONE was never meant to be a competition. There was no ranking, no winners, no pecking order. The pictures we talk about are simply the ones that made me stop, sometimes because of the image, sometimes because of the story that sat behind it. 
I invited 10 photographers over two weeks to talk about their work, and this is the second of those two special editions. If your picture isn't included in these two episodes, it doesn't mean it was missed. This grew bigger than anyone expected, and THE ONE now has a home on the website, ready to be returned to throughout the year.
John Lancaster talks about a health scare that pushed him to look at both life and photography differently. Wendy Brandon takes us out onto the water, finding calm among whales and ice. Jan van der Hooft shares a deeply personal story of love, loss, and what it means to keep making pictures. Michael Tenbrink brings his blurred, dreamlike landscapes into the mix, while Gene Westberg reminds us that some of the best images happen when you wander off the main path.
Read more about our photographic adventures on our photography travel website, The Journey Beyond.
Links to all guests and features will be on the show page, my sincere thanks to our Extra Milers, without whom we wouldn't be walking each week and Arthelper.ai, giving photographers smart tools to plan, promote, and manage your creative projects more easily.
WHY: A Sketchbook of Life is available here.