Self-Portrait, New York, New York, 1954

In spring 2024, Vivian Maier will get her first exhibition in the United States. The late street photographer rose to acclaim posthumously when her vast archive of images was discovered in a storage unit and made public, and now her vision of post-war America is coming to New York City thanks to Fotografiska. The organization is bringing Maier back to her hometown with an exhibition of around 200 works that include vintage and modern prints, as well as Super 8 films and soundtracks.

Vivian Maier will trace the photographer's artistic journey as she honed her skills. The exhibition begins with her early photographs of 1950s New York City, taken during her downtime while she was working as a nanny, all the way up to images from the mid-1980s. Visitors will get an in-depth feel for her work and the visual language that she developed as she photographed women, children, couples, and even herself.

“The discovery of Vivian Maier's archive and her extraordinary work is one of those rare stories that captures the public's imagination,” said Sophie Right, executive director of Fotografiska New York. “We are thrilled to be premiering this beautiful exhibition in her hometown of New York—it's a testament to her distinct perspective and talent, and an honor for the museum.”

Vivian Maier will run from May 31, 2024, to September 2024, at Fotografiska New York.

For the first time, an institution in the United States will present the work of acclaimed street photographer Vivian Maier.

Chicago, Illinois, May, 16, 1957

Untitled, 1958

Fotografiska New York is holding the show, which opens in May 2024, and will put around 200 pieces of her work on display.

Grenoble, France, 1959.

Central Park, New York, September 26, 1959

Fotografiska: Website | Instagram | Facebook

All photos ©Estate of Vivian Maier, Courtesy of Maloof Collection and Howard Greenberg Gallery, NY. My Modern Met granted permission to feature photos by Fotografiska.

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READ: Vivian Maier’s Street Photography Coming to New York for Comprehensive Exhibition

Jive Guy on Williamsburg Subway, March 1978

Photographer Meryl Meisler‘s journey in street photography began in the early 1970s, when she started documenting suburban life on Long Island. That quickly transitioned into following Manhattan's electric nightlife and daily life in Bushwick well before its gentrification. Her vast archive of photos, which was only revealed in 2010 after she finished a 31-year career in education, is now on display together with her more recent images in an incredible five-decade retrospective.

Meryl Meisler | Simply Scintillating: A Retrospective is the photographer's second solo show with CLAMP. Located in Manhattan's Chelsea neighborhood, CLAMP is the perfect home to celebrate Meisler's look at the grit and glamour of New York City. By mixing her vintage street photography with new work, it's clear that Meisler's desire to represent her LGBTQ and Jewish identities, NYC street life, and nightlife adventures has never wavered.

Self-Portrait, My Childhood Mirror, Woodstock, August 2023

From the Village People stepping out of Manhattan's fabled Grand Ballroom in 1978 to current nightlife icon Amanda Lepore celebrating a recent birthday, the photos show Meisler's ability to stay on the pulse of life after dark in the city. But at the same time, her quiet portraits of subway riders and ladies at the salon also show a keen desire to capture  the routines of daily life.

“Everyone you meet, even if for a moment, is important,” Meisler shared with My Modern Met in our 2017 interview. “Treat them as such. We are all witness to and part of history. This is your time, this is your place.”

Her work is a testament to this philosophy and, thanks to this ethos, we're able to witness her exciting time capsule of life in New York, past and present.

Meryl Meisler | Simply Scintillating: A Retrospective is on view at CLAMP in New York City until November 4, 2023.

Fifty years of Meryl Meisler's street photography is on show at CLAMP in New York City.

Mom Getting her hair Teased at Besame Beauty Salon North Massapequa, NY, June 1976

Love in Bloom G-d Bless America Henry Street Settlement Good Companions Senior Center 1978

After Meisler made her way from Long Island to Manhattan in 1975, she began documenting the city's vibrant nightlife.

Self-Portrait, Playmate Hostess, NY, NY, December 1978

The Village People Stepping Out of the Grand Ballroom New York, NY, June 1978

Coli, Playmate Hostess, NY, NY, December 1978

It's work that she continues today, focusing on life after dark as well as scenes of daily life.

Amanda Lepore on her Birthday, Bartschland, Working Girls Holiday Special, Club Room at Soho Grand, December 2022

Miss Malice, birthday femme, Switch n’ Play, Littlefield, Brooklyn, NY, January 2023

Ripped Stocking and Garter Dance Trio at GG’s Barnum Room, NY, NY, December 1978

Guys at Christopher Street Pier, NY, NY April 1978

JJ Holding Head as Hair Flies While Dancing with JudiJupiter, Studio 54, NY, NY, July 1977

Feminine Floored Hurrah (Potassa de la Fayette), NY, NY, Hurrah, March 1978 #2

Meryl Meisler: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Meryl Meisler.

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“A delicate balance” by Regula Tschumi. Finalist.
Location: Ghana

With its monthly photography contests, The Independent Photographer promotes talented photographers around the world. Judged by American street photographer Richard Sandler, the March 2023 Street Photography competition demonstrates the high quality of the work creatives submit. From a barber on the streets of India to a colorful market in Ghana, these candid moments are incredible snapshots of life across the globe.

Photographer Alain Schroeder won the contest for his image of a man curled up for a nap in a narrow alleyway in India. Schroeder's ability to snap the photo at the perfect moment captured the judge's imagination. “This is my kind of masterpiece,” Sandler admits. “The formal composition and the people within the frame are in a perfect, yet uneasy, balance. The light within the picture is varied and painterly and subtle so that the air feels dream-like and evocative. The best pictures, like this one, ask more questions than they answer.”

Sandler also appreciated second-place winner Daniel Ramos' ability to bring clarity to a complicated situation. Bringing chaos into order, Ramos is able to capture the instant that cotton candy is being whipped up for a crowd as the sun sets in Mexico City.

All of the top 10 photos demonstrate the ability to quickly make observations and take pictures that immortalize a moment in a manner that transforms them into a work of art. Be sure to check out all of The Independent Photographer's monthly photo contests, which are all judged by esteemed photographers like Sandler, Steve McCurry, and Jimmy Nelson.

And if you are a street photographer yourself, there is a new edition of the contest running during the month of September. The September Street Photography competition is accepting entries until September 30, 2023.

Check out the incredible winners of The Independent Photographer's Street Photography Contest.

“Dreamland” by Alain Schroeder. 1st place.
Location: Varanasi, India

“Untitled” by Daniel Ramos. 2nd Place.
Location: Mexico City, Mexico

“Shelter from the Storm” by Jonathan Jasberg. 3rd Place.
Location: Kolkata, India

“A Close Shave” by Arpit Mehrotra. Finalist.
Location: Kolkata, India

This contest is one of 12 monthly contests that the photography site runs.

“Untitled” by Gian Marco Venturi. Finalist.
Location: Rome, Italy

“The Playground” by Joseph-Philippe Bevillard. Finalist.
Location: Galway, Ireland

“Untitled” by David Keith Brown. Finalist.
Location: Chennai, India

“Puppets” by Johannes Maechtel. Finalist.
Location: Trinidad, Cuba

“Subway Light Play” by John Yuhas. Finalist.
Location: Chicago, USA

The Independent Photographer: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by The Independent Photographer.

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Grand Central Station, New York, 1983, Getting To The Office, Subway New York, Subway New York, Unguided Tour Hell on Wheels, NY, 1977–1985

Over the course of eight years, Swiss photographer Willy Spiller documented life on the New York City subway. From 1977 until 1984, Spiller amassed nearly 2,000 images of the subway. And in doing so, he was able to create a visual time capsule of this critical moment in the city's history.

His collection, called Hell on Wheels, is a highly sought-after visual that shows the good and bad of the era. The images were first published in 1986 and then rereleased to big acclaim in 2016. However, that edition is now out of print and is difficult to find. Thankfully, Bildhalle has published a redesigned edition of Hell on Wheels that also included previously unseen images.

The book includes a text by former LIFE magazine editor-in-chief Bill Shapiro, who provides important context for Spiller's street photography. While many focus on the dangerous aspect of Spiller's photographic undertaking, given the high crime rate on the subway at the time, Shapiro sees something different. He realizes that 40 years removed, these photographs show a far more subtle vision of life in New York City. Spiller's work no longer inspires fear. Instead, it provokes nostalgia for a time gone by.

Jerome Avenue IRT Line, New York 1980, Unguided Tour 1977–1985

“Forever a lover of fairy tales, I was always enthralled when I plunged into that rattling world of these mobile metal living rooms, like Alice in Wonderland, never knowing whether the next moment would be threatening, violent or funny, frightening or delightful,” shares Spiller. “Here, I could blithely observe and capture the vast human menagerie of the metropolis. Communication between passengers, if any, was subtle. People randomly crammed together for the length of a ride appeared as though they’d rather ignore all differences: status, culture, ethnicity, religion, gender, and age. They seemed equally exposed and uninhibited—as if they’d checked their private lives above ground—curiously indifferent to me and my camera.”

Signed and unsigned copies of Hell on Wheels are now available on the Bildhalle website. For true fans of street photography, there is also a limited edition that includes a signed print. With a 1,000-copy print run, act fast before Spiller's work once again becomes hard to find.

Starting in 1977, Swiss photographer Willy Spiller spent eight years documenting the New York subway.

Rush Hour on Lexington IRT, Subway New York, Unguided Tour Hell on Wheels, NYC, 1977–1985

Subway New York, Hell on Wheels, Police Control, 72nd St. Station West Side IRT Line, NY, 1977–1985

Schoolgirls on the A-Train to Far Rockaway, Subway New York, 1978, Unguided Tour Hell on Wheels, NY, 1977–1985

Riding Together, Subway New York, Unguided Tour Hell on Wheels, NY, 1977–1985

His gritty photos of life on this “Hell on Wheels,” as it was then called, have a cult following.

Downtown Express 72nd St. Station, Women Waiting on Platform West Side IRT, Subway New York, Unguided Tour Hell on Wheels, Subway New York, NY, 1977–1985

Ghettoblaster Man Waiting, 72nd St. Station West Side IRT Line, Subway New York, Unguided Tour Hell on Wheels, NY, 1977–1985,

Dangerous Ride, Boy Clinging Outside A Subway Car, Subway New York, Unguided Tour Hell on Wheels, NY, 1977–1985,

Conversation on the A-Train, Subway NY 1982, Unguided Tour 1977–1985

Now, the series has been republished in a new edition of Hell on Wheels.

Conductor Between Subway Cars, Subway New York, Unguided Tour Hell on Wheels, NYC, 1977–1985

After the Rehearsal, Columbus Circle, Subway NY 1982, Unguided Tour 1977–1985

Elevated Station 180 St, Queens, New York, 1982, Subway New York, Unguided Tour Hell on Wheels, Subway New York, NY, 1977–1985

The book is available for sale via the Bildhalle website.

Hello! Greeting Women Descending Staircase, Subway New York, Unguided Tour Hell on Wheels,1977–1985

Willy Spiller: Website 

My Modern Met granted permission to feature photos by Bildhalle.

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Street photographer Anthimos Ntagkas is always on the lookout for an interesting scene. With a keen eye for observation, Ntagkas is able to capture small, humorous coincidences that most of us overlook. From people unknowingly mimicking a nearby mural to a man's bird tattoo appearing in the sky, these charming scenes are immortalized for eternity thanks to Ntagkas.

While he used to wait at his favorite locations for people to pass by, Ntagkas' creative process changed over time. And, thanks to that change, he's opened himself up to even more creative possibilities.

“Nowadays, I don't choose the place, but I make every location work for me,” he tells My Modern Met. “I combine people with elements everywhere I stand. Luckily the themes in this type of photography are endless, and I never lose interest.”

Ntagkas is always pushing himself to do something different with his work. And through his street photography, he's found the perfect creative outlet.

“It is not only capturing the moment and the people in the streets,” Ntagkas explains, “but you also have to be an artistic director in order to combine people and elements in a fascinating perspective.”

Anthimos Ntagkas is known for his creative street photography.

All about life's little coincidences, his images often reveal the humor that happens when odd situations align.

His candid photos demonstrate his wit and humor, as well as his photography prowess.

“It is not only capturing the moment and the people in the streets, but you also have to be an artistic director in order to combine people and elements in a fascinating perspective.”

Anthimos Ntagkas: Instagram

My Modern Met granted permission to feature photos by Anthimos Ntagkas.

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For the past decade, photographer Suitcase Joe has been spending time at Skid Row in downtown Los Angeles. This area, known for its population of people experiencing homelessness, often gets a bad rap. Suitcase Joe was curious to connect with its inhabitants and learn more about their stories. And from this desire, he forged relationships that have allowed him to capture Skid Row in a raw, honest manner.

His unflinching look at life on the street is also tinged with the respect he has for the people that he meets. By approaching them with a genuine spirit, he's found himself enriched by these encounters. It's this enrichment that he hopes to pass on to others by publishing his work together with short texts to explain the meaning behind the images. Soon, he'll be releasing his second book Grey Flowers with Burn Barrel Press, which will feature many of his Skid Row images.

We had the opportunity to speak with Suitcase Joe about his photography. Read on for My Modern Met's exclusive interview and learn more about what pushed him to visit Skid Row, as well as why he feels that he's been able to get its residents to open up to him on camera.

Where does your love of photography stem from?

It's hard to say exactly where my love for taking photos comes from. I read more than I look at other people's photography, and often it’s the feeling from the people and places I’ve read about that I’m trying to capture. I want my photos to make people feel the way books and authors have made me feel.

For me, photography is much more than taking photos. I love to be alone, to wander and explore. I like meeting all kinds of people and talking with them to learn about their stories and life. My camera and writing give me a reason to do all this. It really brings me the deepest kind of joy—a small quiet one that I take everywhere I go.

What first pushed you toward documentary photography?

It all happened organically for me. I thought someone should photograph and document Skid Row for historical archives. I suggested the idea to a couple of photographers, who told me they had no interest in going into Skid Row. Eventually, I realized I was seeing it a certain way in my head, and I should just pick up a camera and do it myself.

I never set out to be any one kind of photographer, but my wanting people to connect with the unhoused is what pushed me toward documentary photography. At first, I just wanted to photograph all the people living in Skid Row. I thought about what the photos would look like to someone seeing them a hundred years after I took them. Soon I realized my photos alone were not enough to tell their stories.

Next, I began writing about our conversations and what I learned from them. That really changed everything for me. It combined writing, photography, adventure, and helping people all in one. I’ve continued to grow in the documentary direction ever since, but I approach my photos like fine art. I want to show the beauty of people and places. I’m most interested in showing the beauty of overlooked places or misunderstood people.

What was your first experience taking images at Skid Row like?

I was scared to go into Skid Row early on. I continually had to push myself past my comfort zone and go a little further each time. The first experience I can remember is talking with a man who went by the name Old Red. We hung out at his tent for a few hours while he fried chicken and talked. His intelligence was on another level. I remember thinking to myself, “Why am I surprised this man’s intellect is far beyond my own?”

I came to the realization that I was not as open-minded as I thought I was. I made the assumption that Old Red, like many others living outside, was not as intelligent because of where they were at in life. I know now that there are countless reasons why anyone can end up living on the streets, but that was a profound moment for me. I knew then that I had a lot to learn. I needed to be aware of my own misconceptions and shortcomings if I was gonna help change them for others. We all have room to grow.

Why do you think you are able to put people at ease in order to get the photograph that you're after?

I get asked this a lot, and the only thing I can surmise is I’m genuine. I really care about the people I meet. I truly am interested in getting to know them. The connections I make are real. I don’t always take my camera along. I champion the underdog because I grew up as one. I greatly appreciate the time they take to speak with me and the many who have opened up about themselves to share with me. I really love them all.

What's the biggest misconception you feel that the public has about people living on Skid Row?

Where do I begin? The truth is no matter where you’re at in life, we all want the same things—to be loved and appreciated and to be treated with dignity and respect. People living on the street are highly aware that people look down upon them like they are subhuman. This prevents a lot of them from ever trying to escape their surroundings because there is comfort in surrounding yourself with others who understand where you’re at without judgment.

The biggest misconceptions are that people living on the street want to be there or that they are there because they’re lazy or drug addicts. Each of them is a product of different environments, and no easy road ever leads to Skid Row. Don’t assume anything. Go say hello and find out.

What's your most memorable encounter and why?

I’m not really a nostalgic person, and I don’t do too much looking back. Nothing stands out specifically. I look at my time there as a whole. Skid Row has deeply changed me as a person for the better. As many people as I’ve helped in Skid Row, they have also helped me. It was years before I realized Skid Row was my own kind of therapy. All the wonderful people there made me fall in love with humanity again.

What do you hope that the public takes away from these images?

Love and compassion for others even when it's difficult and doesn’t always make sense. We don’t always have to understand everyone around us—but that doesn’t mean we shouldn’t be kind.

Suitcase Joe: Instagram

My Modern Met granted permission to feature photos by Suitcase Joe.

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New York-based street photographer Billy Dinh has amassed a large and loyal Instagram following thanks to his talents. His dramatic, moody images heavily rely on light and shadow, which coupled with his ability to capture unique moments, make them look pulled from a film. Through Dinh's lens, we're able to watch the world unfold and peek into the small moments of life.

Whether it's a woman wiping tears from her eyes as her train is about to pull away, or a man staring out the window on an empty ferry, Dinh takes average moments and elevates them to high art. With formal training as an illustrator, Dinh clearly has developed an eye for putting together captivating stories that pull the viewer in.

We were lucky enough to chat with Dinh about his street photography and learn more about how his passion for photography developed. We also learn more about what he looks for when he's out on the street, as well as his biggest concern with AI imaging. Read on for My Modern Met's exclusive interview.

How did your love of photography begin?

Photography has always been in my life since as early as I can remember. From the days of my family’s analog camera to picking up disposable cameras for class field trips, to owning my own point-and-shoot digital cameras, to where we are now with mobile phone cameras, photography has always been a way for me to preserve my memories and experiences.

It wasn’t until I started traveling abroad within the last 10 years that photography started to become something more than that. At first, the photos were more personal and were captured on my mobile phone. However, as I visited more places, I slowly found myself wanting to take photos more creatively and outgrew the mobile phone. I’ve been obsessed with photography ever since I decided to take it seriously.

What specifically attracted you to street photography as a genre?

I started my early photography career capturing landscapes and cityscapes. But something always felt unfulfilling to me about that experience, and coming from an illustration background, I had always been interested in illustrating people. It wasn’t until my visits to countries like Guatemala, Jordan, Egypt, and Mexico that I started to naturally gravitate toward taking photos of people instead of places.

Initially, it was because of the appreciation of diversity. How different, interesting, and beautiful people looked in their own way from all around the world. But soon, I became more interested in how people lived and not just what they looked like. How they interacted with each other and their surroundings. I become more interested in their stories and their lives and the little everyday moments that make them who they are, no matter where they are or where they’re from.

How does your photography change the way you live and move through the city?

It’s for sure changed so much in the way I live. I find that I can’t go anywhere these days without having a camera around my neck or in my hands. It’s changed the way I see the world and has constantly allowed me to see my own home in NYC with fresh eyes. I find I would explore parts of places I never cared about before or even knew existed. I’ve gained a whole new appreciation for constantly observing and being present wherever I am. In some ways, it has slowed me down a bit and has allowed me to take my time in a city that’s so constantly fast-paced. I now take so much notice of details in things that would have never in a million years interest me before. I can say photography has given me a whole new appreciation of life.

When you are out shooting, what are you looking for when you decide what warrants a click of the shutter?

It’s a combination of things. I think if I can sum it up into four categories, it would be the following. First, the visual element. I look for interesting people, colors, textures, layers, lighting, shapes, and interesting ways people and/or objects are positioned in a scene. Things that are appealing to the eye.

The second category I look for is what’s happening with the subjects. I look for interesting and unique interactions between people and objects in their surroundings. I enjoy having a story element and hidden messages in my photos. I enjoy photographs that make you think and wonder.

The third is the overall feeling of what I see. Sometimes you can see a scene unfold before your eyes and have it strike a chord emotionally or make you feel nostalgic. There’s something personal when a photo can remind you of something from the past, whether it feels good or bad.

The last category I enjoy capturing is something that looks and feels from another place, time, or world. I love movies in the way they often take real-life scenes and make them feel like they’re not. I particularly gravitate to this when I am out shooting. While what I end up capturing will include one or more of these categories, it’s coming across all four at once that warrants a satisfying click of the shutter to me.

You've had a lot of success on social media. What have been the positives and negatives of that success?

I think the positive side of my social media presence is being able to have my photographs reach people it wouldn’t normally be able to. It’s also allowed me to meet some amazing people and provided me with some great opportunities. It’s a privilege to be able to have my work seen by people that could potentially inspire them to pick up a camera. It’s one of the greatest feelings.

On the other hand, though, there’s a lot of pressure with social media. Especially if you are a full-time artist and rely on social media as a way to promote your work and brand. It’s all tied to the numbers, and that, in turn, can affect the honesty in what you create. While I've been much better with this, it's definitely a problem I see today.

AI is such a hot topic now. As a photographer, do you have concerns about AI—particularly if it continues to improve and blur the lines with photography?

It’s an interesting question. I’ve been pretty active following the growth of AI art since it became more mainstream recently, and as of right now, I have mixed feelings about it. A part of me sees the benefits in how it can help take existing digital art mediums to the next level and even excel as an art form on its own. I’ve seen some phenomenal “post-photograph” AI work that, while looking as realistic as photographs, depict things that just couldn’t happen in real life but look extremely real. I think this is where AI is excelling in my opinion.

The main concern I have with AI is not so much that it will blur the line with photography. I think it is inevitable that AI will look so real that you can’t tell, and it will happen very soon. However, a photograph documenting the world will always be a snapshot of something that exactly exists timestamped in history. AI can never achieve that.

My biggest concern with the whole thing is trying to pass off AI as actual photographs without mentioning it. This is where my concern is. At the moment, the average person probably couldn’t tell the difference between most AI work being passed as photos. I’ve been getting asked more and more frequently over the last few months if my photos are AI. They are not. If something doesn’t change, we may not be able to know what a real photograph is versus what’s AI in the near future, and that’s when we lose what actually existed and what is made up.

What's next for you?

I have a few personal photography projects I am working on that I hope to share with the world one day, and a few I am in the process of starting soon. I’m not ready to share them at the moment, unfortunately, but anyone who’s been following along with my journey may have some ideas as to what they may be. I am also in the early stages of putting together ideas for my first book. I want to actually release something I’d be proud of, so I’m taking my time with it. I am also excited to just continue to grow as a photographer and share with everyone the world through my eyes.

Billy Dinh: Website | Instagram | Twitter

My Modern Met granted permission to feature photos by Billy Dinh.

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When Nicolas Miller moved to New York City several years ago, he was inspired to start his creative journey. Intrigued by the metropolis and all it had to offer, he picked up an old DSLR and began exploring the streets. From there, he's never looked back. Propelled forward by the inspiring street photographers he viewed online, his love for the craft has only deepened over time. Today, he's amassed a healthy following on Instagram, where he publishes his neo-noir New York street photography.

In love with capturing the moment and inspired by cinema, Miller's work is a dark and moody look at the city. Through his lens, solitary figures strut down foggy streets. Neon signs and the headlights of a subway car provide soft illumination so that we can make out this vision of the urban landscape.

These elements make Miller's work a love letter to New York City, but one tinged with loneliness. In his creative world, the city is filled with individuals who perhaps come together as a couple, but never en masse. This solitary view is understandable when one imagines that Miller began heavily investing in his photography during the pandemic—perhaps one of the most solitary times for individuals in recent history.

We had the opportunity to speak with Miller about his work and what drives him. We cover everything from the films that influence him to his most memorable photo. Read on for My Modern Met's exclusive interview.

What sparked your love for photography?

Moving to New York City back in 2018 sparked my love for photography. I was fascinated by the city and would often spend hours walking to enjoy it and discover new places. I had an old entry-level DSLR and I started taking it on my walks and shooting more and more. Around the end of 2018, I decided to install Instagram to check out the work of photographers capturing the city and I was blown away by the work of some people. That’s when I decided to learn photography more in-depth. I got much deeper into photography in 2020 when it became an escape for me during the pandemic. I was shooting almost every day at some point during that year.

Your work is very cinematic. Were you influenced by film and, if so, how and what films in particular?

Movies are definitely a main source of inspiration for me. I love every movie taking place in the gritty New York of the '70s and '80s. Among my all-time classics are Taxi Driver, The French Connection, and, more recently, Joker. I’m a huge fan of the neo-noir movie genre, and this is the type of atmosphere I try to convey in my pictures. A lot of the themes of this genre can be found in my photography—loneliness, alienation, paranoia, blurry line between dream and reality. The cinematography of both Blade Runner movies also had a huge influence on my editing and color grading.

What's your working process for your street photography? Do you go out with a plan or just let the action unfold?

It really depends. I usually start with a plan in mind but often end up going with the flow and walking randomly until I’m too tired to go on. This means I can sometimes go for sessions of more than 10 hours if conditions are good. I also tend to scout locations and come back in conditions I enjoy (fog, golden light, etc). Ultimately, the best photos are usually unplanned, and spending so much time in the city shooting is the way to capture those decisive moments.

What's your favorite equipment to shoot with?

I have been shooting with the same Sony mirrorless camera since 2019. I dragged it in blizzards, heavy rain, and sand storms and it is still working perfectly, so I’m pretty happy with it. I use mainly prime lenses because of the fast aperture for night shooting. I shoot at 35, 50, and 85mm. I also own an old 35mm film camera that I bought to shoot the West of the U.S. during a trip I did a few years back. I feel a little guilty not using it more often but I’m definitely more into digital photography.

Summer in Brooklyn

What's the most memorable image you've taken? 

Summer in Brooklyn is one of my favorite photos that I’ve taken. Water hydrants are often opened during warm summer days for kids to play with water and I noticed on one of my evening walks that the golden light was reflecting on water coming from a hydrant on a street in Brooklyn. This only lasted for a few minutes and I couldn’t get any interesting subject going through the frame. I came back to the same spot for several days when, finally, the man on his bike showed up on the third evening as I was ready to leave. It caught me by surprise and I took the shot without looking at the camera. The result ended up being one of my most iconic shots so I'm glad I put in the effort.

What do you hope that your images convey to the public?

The themes of the neo-noir genre definitely occupy a major place in my photography. I’m not trying to capture reality, I’m more interested in transporting viewers in my own dark fantasy. Photography is, to some extent, a way to escape my daily routine and everyday problems, as I do not think about anything else when I’m shooting. I hope the public can feel the same way when looking at my photos.

See more of Miller's cinematic New York street photography.

Nicolas Miller: Instagram

My Modern Met granted permission to feature photos by Nicolas Miller.

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The night ushers in a new rainbow of colors. This is especially true in urban metropolises, where the fluorescent lights of buildings and signs illuminate the streets in a variety of colors. Photographer Andrew Nef captures the electric beauty of the city of Taipei that can only be seen after dark in an ongoing series of photos.

Nef has been documenting street scenes ever since he moved to Taiwan in 2014. By day he teaches English and in his spare time, he roams the city for inspiration. He usually finds it at night after a storm. “Rainy nights in Taipei are just so special. I can't explain it in words. Perhaps that's why I take pictures,” he tells My Modern Met. The wet cityscape becomes the perfect backdrop for the abundance of pink and blue signage, creating electric imagery that resembles stills from sci-fi movies. Usually, Nef has no concrete idea of what he wants to photograph, and simply wanders until the subjects find him.

While many of his works focus on busy intersections and moving cars, some also feature pedestrians or other inhabitants of the city. “I like shooting neon lights and odd street characters. I guess it has to do with me seeing life as both messy and beautiful,” Nef continues. His work highlights the everyday sights that often go overlooked or underappreciated. “I've learned that many people fail to see the beauty of Taiwan because they're too caught up in daily life here,” he explains. “When they see my photos they're shocked and amazed that I took them in Taiwan.”

Scroll down to see more vibrant photos of Taiwan, and head over to Nef's online shop to purchase prints of these photographs.

Photographer Andrew Nef captures street scenes in Taiwan.

Nef has been documenting street scenes ever since he moved to Taiwan in 2014.

By day he teaches English and in his spare time, he roams the city for inspiration.

He usually finds it at night after a storm. “Rainy nights in Taipei are just so special. I can't explain it in words.”

The wet cityscape becomes the perfect backdrop for the abundance of pink and blue signage, creating electric imagery that resembles stills from sci-fi movies.

Andrew Nef: Website

My Modern Met granted permission to feature photos by Andrew Nef.

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READ: Neon Nighttime Scenes Capture the Electric Energy of Taipei After Dark

Cats are comedians. They certainly don’t realize it, but as Japanese photographer Masayuki Oki shows, they are constantly doing things that make us laugh. Oki roams Tokyo and other city streets to look for kitties that are just being themselves, but they are doing so in a way that is funny to us humans. This includes dramatic fighting poses, weird facial expressions, and contorted positions as they groom themselves. Sometimes, the photos are so bizarre that they don’t seem real. But as any cat lover knows, this is the nature of these amusing little creatures.

Street photography often centers on humans, but Oki defies convention by searching for cats while he walks. He snapped his first photo of a gray-haired feline he calls Busanyan-senpai on New Year’s Eve in 2013. The next day, with his passion for cat photography fully ignited, he grabbed his camera and started taking more pictures of them. It has provided him with a popular subject matter and a dedicated social media following, and it's also a way for Oki to share his love of cats while not being able to have them at home.

Scroll down for street photography starring cats. Then, follow Oki on Instagram to see what these funny felines are up to next.

Japanese photographer Masayuki Oki shares how cats are natural comedians.

Oki roams Tokyo and other city streets to look for kitties that are just being themselves, but they are doing so in a way that is funny to us humans.

This includes dramatic fighting poses, weird facial expressions, and contorted positions as they groom themselves.

Sometimes, the photos are so bizarre that they don’t seem real.

But as any cat lover knows, this is the nature of these amusing little creatures.

Masayuki Oki: Instagram | Twitter 

My Modern Met granted permission to feature photos by Masayuki Oki.

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