#for the record i think evan is indifferent to music. as he is with most stimuli

[foursaints]

saints i feel like it’s been so long since you shared your Evan thoughts I feel like I’m losing my grasp of him quick do you think he listens to music or does he sit in silence with his own thoughts

of course he mostly sits in dead silence with his own thoughts, anon…

don’t lose sight of him!! he’s sitting right over there in one of the dusty wicker chairs scattered around rosier manor, with his over-large sleeves pulled over his fingers. he thinks there is a logic to animal behavior (eat or be eaten) that we could all emulate. he bites his fingernails to the quick. he’s an ephebe & an ingenue & a waking nightmare. he looks like a porcelain doll left to decay under a bed. he is nowhere close to being as in control as he would like to be. he’s an overmature child that acts like an adult & an undersocialized adult who is as ignorant with other people as a child… he doesn’t eat enough. he peels off his bloody surgical gloves & goes to bed without showering for weeks, hair caked in gore. he died in a fucking duel!!!!!

[justforbooks]

Lee Konitz, jazz alto saxophonist who was a founding influence on the ‘cool school’ of the 1950s  died aged 92

The music critic Gary Giddins once likened the alto saxophone playing of Lee Konitz, who has died aged 92 from complications of Covid-19, to the sound of someone “thinking out loud”. In the hothouse of an impulsive, spontaneous music, Konitz sounded like a jazz player from a different habitat entirely – a man immersed in contemplation more than impassioned tumult, a patient explorer of fine-tuned nuances.

Konitz played with a delicate intelligence and meticulous attention to detail, his phrasing impassively steady in its dynamics but bewitching in line. Yet he relished the risks of improvising. He loved long, curling melodies that kept their ultimate destinations hidden, he had a pure tone that eschewed dramatic embellishments, and he seemed to have all the time in the world. “Lee really likes playing with no music there at all,” the trumpeter Kenny Wheeler once told me. “He’ll say ‘You start this tune’ and you’ll say ‘What tune?’ and he’ll say ‘I don’t care, just start.’”

Born in Chicago, the youngest of three sons of immigrant parents – an Austrian father, who ran a laundry business, and a Russian mother, who encouraged his musical interests – Konitz became a founding influence on the 1950s “cool school”, which was, in part, an attempt to get out of the way of the almost unavoidable dominance of Charlie Parker on post-1940s jazz. For all his technical brilliance, Parker was a raw, earthy and impassioned player, and rarely far from the blues. As a child, Konitz studied the clarinet with a member of Chicago Symphony Orchestra and he had a classical player’s silvery purity of tone; he avoided both heart-on-sleeve vibrato and the staccato accents characterising bebop.

However, Konitz and Parker had a mutual admiration for the saxophone sound of Lester Young – much accelerated but still audible in Parker’s phrasing, tonally recognisable in Konitz’s poignant, stately and rather melancholy sound. Konitz switched from clarinet to saxophone in 1942, initially adopting the tenor instrument. He began playing professionally, and encountered Lennie Tristano, the blind, autocratic, musically visionary Chicago pianist who was probably the biggest single influence on the cool movement. Tristano valued an almost mathematically pristine melodic inventiveness over emotional colouration in music, and was obsessive in its pursuit. “He felt and communicated that music was a serious matter,” Konitz said. “It wasn’t a game, or a means of making a living, it was a life force.”

Tristano came close to anticipating free improvisation more than a decade before the notion took wider hold, and his impatience with the dictatorship of popular songs and their inexorable chord patterns – then the underpinnings of virtually all jazz – affected all his disciples. Konitz declared much later that a self-contained, standalone improvised solo with its own inner logic, rather than a string of variations on chords, was always his objective. His pursuit of this dream put pressures on his career that many musicians with less exacting standards were able to avoid.

Konitz switched from tenor to alto saxophone in the 1940s. He worked with the clarinettist Jerry Wald, and by 20 he was in Claude Thornhill’s dance band. This subtle outfit was widely admired for its slow-moving, atmospheric “clouds of sound” arrangements, and its use of what jazz hardliners sometimes dismissed as “front-parlour instruments” – bassoons, French horns, bass clarinets and flutes.

Regular Thornhill arrangers included the saxophonist Gerry Mulligan and the classically influenced pianist Gil Evans. Miles Davis was also drawn into an experimental composing circle that regularly met in Evans’s New York apartment. The result was a series of Thornhill-like pieces arranged for a nine-piece band showcasing Davis’s fragile-sounding trumpet. The 1949 and 1950 sessions became immortalised as the Birth of the Cool recordings, though they then made little impact. Davis was the figurehead, but the playing was ensemble-based and Konitz’s plaintive, breathy alto saxophone already stood out, particularly on such drifting tone-poems as Moon Dreams.

Konitz maintained the relationship with Tristano until 1951, before going his own way with the trombonist Tyree Glenn, and then with the popular, advanced-swing Stan Kenton orchestra. Konitz’s delicacy inevitably toughened in the tumult of the Kenton sound, and the orchestra’s power jolted him out of Tristano’s favourite long, pale, minimally inflected lines into more fragmented, bop-like figures. But the saxophonist really preferred small-group improvisation. He began to lead his own bands, frequently with the pianist Ronnie Ball and the bassist Peter Ind, and sometimes with the guitarist Billy Bauer and the brilliant West Coast tenor saxophonist Warne Marsh.

In 1961 Konitz recorded the album Motion with John Coltrane’s drummer Elvin Jones and the bassist Sonny Dallas. Jones’s intensity and Konitz’s whimsical delicacy unexpectedly turned out to be a perfect match. Konitz also struck up the first of what were to be many significant European connections, touring the continent with the Austrian saxophonist Hans Koller and the Swedish saxophone player Lars Gullin. He drifted between playing and teaching when his studious avoidance of the musically obvious reduced his bookings, but he resumed working with Tristano and Marsh for some live dates in 1964, and played with the equally dedicated and serious Jim Hall, the thinking fan’s guitarist.

Konitz loved the duo format’s opportunities for intimate improvised conversation. Indifferent to commercial niceties, he delivered five versions of Alone Together on the 1967 album The Lee Konitz Duets, first exploring it unaccompanied and then with a variety of other halves including the vibraphonist Karl Berger. The saxophonist Joe Henderson and the trombonist Marshall Brown also found much common ground with Konitz in this setting. Konitz developed the idea on 1970s recordings with the pianist-bassist Red Mitchell and the pianist Hal Galper – fascinating exercises in linear melodic suppleness with the gently unobtrusive Galper; more harmonically taxing and wider-ranging sax adventures against Mitchell’s unbending chord frameworks.

Despite his interest in new departures, Konitz never entirely embraced the experimental avant garde, or rejected the lyrical possibilities of conventional tonality. But he became interested in the music of the pianist Paul Bley and his wife, the composer Carla Bley, and in 1987 participated in surprising experiments in totally free and non jazz-based improvisation with the British guitarist Derek Bailey and others.

Konitz also taught extensively – face to face, and via posted tapes to students around the world. Teaching was his refuge, and he often apparently preferred it to performance. In 1974 Konitz, working with Mitchell and the alto saxophonist Jackie McLean in Denmark, recorded a brilliant standards album, Jazz à Juan, with the pianist Martial Solal, the bassist Niels-Henning Orsted Pedersen and the drummer Daniel Humair. That year, too, Konitz released the captivating, unaccompanied Lone-Lee with its spare and logical improvising, and a fitfully free-funky exploration with Davis’s bass-drums team of Dave Holland and Jack DeJohnette.

In the 1980s, Konitz worked extensively with Solal and the pianist Michel Petrucciani, and made a fascinating album with a Swedish octet led by the pianist Lars Sjösten – in memory of the compositions of Gullin, some of which had originally been dedicated to Konitz from their collaborations in the 1950s. With the pianist Harold Danko, Konitz produced music of remarkable freshness, including the open, unpremeditated Wild As Springtime recorded in Glasgow in 1984. Sometimes performing as a duo, sometimes within quartets and quintets, the Konitz/Danko pairing was to become one of the most productive of Konitz’s musical relationships.

Still tirelessly revealing how much spontaneous material could be spun from the same tunes – Alone Together and George Russell’s Ezz-thetic were among his favourites – by the end of the 1980s Konitz was also broadening his options through the use of the soprano saxophone. His importance to European fans was confirmed in 1992 when he received the Danish Jazzpar prize. He spent the 1990s moving between conventional jazz, open-improvisation and cross-genre explorations, sometimes with chamber groups, string ensembles and full classical orchestras.

On a fine session in 1992 with players including the pianist Kenny Barron, Konitz confirmed how gracefully shapely yet completely free from romantic excess he could be on standards material. He worked with such comparably improv-devoted perfectionists as Paul Motian, Steve Swallow, John Abercrombie, Marc Johnson and Joey Baron late in that decade. In 2000 he showed how open to wider persuasions he remained when he joined the Axis String Quartet on a repertoire devoted to 20th-century French composers including Erik Satie, Claude Debussy and Maurice Ravel.

In 2002 Konitz headlined the London jazz festival, opening the show by inviting the audience to collectively hum a single note while he blew five absorbing minutes of typically airy, variously reluctant and impetuous alto sax variations over it. The early 21st century also heralded a prolific sequence of recordings – including Live at Birdland with the pianist Brad Mehldau and some structurally intricate genre-bending with the saxophonist Ohad Talmor’s unorthodox lineups.

Pianist Richie Beirach’s duet with Konitz - untypically playing the soprano instrument - on the impromptu Universal Lament was a casually exquisite highlight of Knowing Lee (2011), an album that also compellingly contrasted Konitz’s gauzy sax sound with Dave Liebman’s grittier one.

Konitz was co-founder of the leaderless quartet Enfants Terribles (with Baron, the guitarist Bill Frisell and the bassist Gary Peacock) and recorded the standards-morphing album Live at the Blue Note (2012), which included a mischievous fusion of Cole Porter’s What Is This Thing Called Love? and Subconscious-Lee, the famous Konitz original he had composed for the same chord sequence. First Meeting: Live in London Vol 1 (2013) captured Konitz’s improv set in 2010 with the pianist Dan Tepfer, bassist Michael Janisch and drummer Jeff Williams, and at 2015’s Cheltenham Jazz Festival, the old master both played and softly sang in company with an empathic younger pioneer, the trumpeter Dave Douglas. Late that year, the 88-year-old scattered some characteristically pungent sax propositions and a few quirky scat vocals into the path of Barron’s trio on Frescalalto (2017).

Cologne’s accomplished WDR Big Band also invited Konitz (a resident in the German city for some years) to record new arrangements of his and Tristano’s music, and in 2018 his performance with the Brandenburg State Orchestra of Prisma, Gunter Buhles’s concerto for alto saxophone and full orchestra, was released. In senior years as in youth, Konitz kept on confirming Wheeler’s view that he was never happier than when he didn’t know what was coming next.

Konitz was married twice; he is survived by two sons, Josh and Paul, and three daughters, Rebecca, Stephanie and Karen, three grandchildren and a great-grandchild.

• Lee Konitz, musician, born 13 October 1927; died 15 April 2020

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[closetofanxiety]

Show Review: Constitution State Wrestling

Last night,  I went down to beautiful Groton, Conn. (”The Nuclear Submarine Capital of the World”) with Mark, Mike, and Joel to see a show put on by an indie promotion that was totally new to us. It was, in many ways, a prototypical Local Indie Experience. Let’s count the ways:

National Anthem

This, in many ways, is the earliest and most significant sign that you’re attending a Local Indie as opposed to a National (For Lack of a Better Term) Indie (the national anthem might be played before a Shindie, too, but that’s another subject entirely). Local indies always make everyone stand up for the national anthem, national indies do not. The local indie maintains, at least in vestigial form, a connection to the idea that this is a sporting event, and sporting events begin with the anthem. In this case, the anthem was a pre-recorded instrumental track, but people clapped after it was over anyway.

Public Venue

Unlike a National Indie, which will be in a bar or a rock club or a private fraternal organization’s event hall or a Catholic church with an absurdly Catholic name (New York City national indies only), the Local Indie show will take place in a high school gym or a town hall or a rec center or some other building they can get with a discounted rental fee because of political connections. In this case: Ella T. Grasso Technical High School, a magnificent example of 1970s brutalist school architecture. It was an air-conditioned gym, though, which you wouldn’t expect on the Connecticut shoreline, so kudos to the Constitution State Wrestling folks for that choice.

Advertising and Local Celebs

It’s not a Local Indie without a program, and this show had a program listing the entire card, providing some detail on the two main events (there can be only one main event in reality but whatever) and listing all the local sponsors of the show. As a bonus, there were also signs leading to the venue that just said “Wrestling” with an arrow pointing vaguely in the direction of the school. I cherish these signs of Local Indiedom! There was also a woman from a rock radio station on hand, whose duties were limited to introducing herself and then, later, introducing the women’s match. It’s not a Local Indie without an appearance from a random local celeb: TV meteorologists, disc jockeys, mayors, and others are all perfectly acceptable. 

At Least One Wrestler Who’s in the Military

In our case, that was “The Soldier of God” Ronnie Ribbs, which is absolutely one of the best Local Indie names I’ve ever heard in my life. Ronnie Ribbs! “Soldier of God” is a little weird, though. Kind of a Taliban vibe there. Also, since that’s a lot of verbiage to put on your ring gear, that meant Ronnie Ribbs had the acronym “SOG” on the seat of his red, white, and blue trunks which, if you didn’t know what it stood for, could be a little embarrassing. Anyway, he was introduced as a soldier in the U.S. Army, always good for a patriotism pop at a Local Indie. Groton, though, is a Navy town, and when Ribbs was rolled up by opponent “Sensational” Scott Levesque with help from cheating heel manager “High Class” Rich Bass, a guy behind me said, “Just one more reason the Army sucks at everything.” 

Event Name That is Not a Cool Pop Culture Reference

Constitution State actually fell down on the job here, as this event did not appear to have a name at all. But a key distinction between a Local Indie and a National Indie is that the latter will usually go with some impenetrable hip pop culture reference (or, worse, just use numbers for each show, like they’re the UFC), whereas local indies are still committed to calling things, like, “Final Showdown” and “Summer Smash Up” and “Brattleboro Brawl” (Brattleboro local indies only) and, of course, “SEASON’S BEATINGS.” 

Random Ex-WWE/F Guy

In this case, that role was filled by Gangrel, who really should be getting some of the indie wrestling nerd attention being lavished on PCO. Gangrel is a blast to see live; he gets insanely into it, and takes bumps that are ridiculously bad ideas for a man of his age. He was in the main event here, and the crowd was pretty exhausted by the time it started, but he got them right back into what was really kind of a straightforward brawl with southern New England bad guy Trigga the OG, accompanied, of course, by evil schemer “High Class” Rich Bass, who I’ve never seen before. The crowd was NUTS for Gangrel. When he won, the pop was huge, although it was slightly disappointing that only Joel chanted “Fang and bang! Fang and bang!” Gangrel loved that though. He pointed to Joel and did the throat-cross-into-the-hook-’em-horns thing. 

Local Wrestling Academy Students’ Match

Often, this is a battle royal, but thank God that was not the case here. Instead, we saw Matt Taven trainees Joey Bones and Todd Harris, the latter working a “rich prick from Newport” gimmick. Both guys were decent, show real promise, and, notably, had really good gear. Invest in yourselves, aspiring wrestlers! You’ll stand out from the pack. 

A Comedy Match That Isn’t Funny

I like comedy wrestling. I know lots of people don’t, but that’s why they make different kinds of ice cream. However, there’s a Chuck Taylor/Orange Cassidy comedy match, and then there’s a Local Indie comedy match, which is basically like a Three Stooges short mixed with some inexplicable Attitude Era flourishes. In this case, it was the awesomely-named Necromancer (short, stout guy with Papa Shango face paint and no apparent ability to speak to the dead) vs. 2Buff w/ The Buffdad, a legitimate father and son duo whose gimmick is that they are not, in fact, buff, but that they constantly do that thing where they put their hands behind their heads and swivel their hips, kind of like a Chippendale dancer would do on an episode of “Designing Women.” Laughs were notably absent, at least from the four of us. Mercifully, this match was broken up by James Ellsworth, who was booked as a random ex-WWE guy but is now, once again, an actual WWE guy. What must he have thought, staring out at the 250 or so people in a high school gym, knowing that in three nights he’ll be facing Asuka on live national television in front of maybe 12,000 people. Anyway, Ellsworth issued an open challenge, and another classic Local Indie thing happened: some loud music hit, and a guy walked out to answer the challenge, but instead of the “Oh shit you gonna get it NOW” reaction from the crowd, there was puzzlement, as no one knew who the challenger was. It didn’t help that he looked like just A Dude in red basketball shorts and a white t-shirt. Later we would learn that he is Wildman Kongo and he would go on to have a bad match with James Ellsworth in front of a tired crowd.

Excitable Fans

Hot crowd, especially before the intermission! At the start of the lone tag team bout, which pitted Brutal Bob Evans and “Tough Tim” against two guys called Riot City’s Most Wanted who looked like indie wrestlers circa 2003, one young fan became so enraged at the heels that he jumped the rail, the first time I think I’ve ever seen that at a show. He was about 11, though, and his friends quickly pulled him back over, so we were spared the sight of Brutal Bob having to PROTECT THE BUSINESS by breaking a child’s jaw. Local indie fixture the Fogman was also there. He’s not really excitable, necessarily, but he’s a fan. We talked to him during intermission and, I mean, he’s an OK guy. He’s his own biggest fan, but what’s so bad about a little self-confidence?

A “Ladies’ Match”

Never a women’s match or just “a match,” on a Local Indie it’s always a LADEEEEES MATCH, the segregation compounded here by having the radio station woman do the only thing she did all night by announcing the competitors, Isana and Jawsolyn. The regular ring announcer was a rockabilly guy, complete with Rev. Horton Heat necktie and suede shoes. He was fine. Isana is a big lass but mobile and specializes in suplays, while Jawsolyn’s gimmick is that she is a shark. That should have gone over better in a coastal town, but people were mostly politely indifferent to this match which, in fairness, was slow and clunky. 

One National Indie-Caliber Match

Increasingly, the people who promote and book Local Indies are fans of national indie wrestling, or Japanese wrestling, or British wrestling, or what have you. In this, their tastes diverge from those of their fanbase, which mostly consists of normal, blue collar Americans who just want a fun night out instead of weirdos arguing about BOLA lineups on Reddit all night or people who will slash your tires if you so much as say a disparaging word against Kenneth Omega. To try to satisfy their own creative longings, the promoters and bookers usually put one match on the card that could be on the card of a PWG show or Beyond show or AAW show or whatever. This is normally received by the Local Indie crowd with the same quiet endurance 205 Live is received by WWE crowds, but tonight was an exception. Matt Cross and JT Dunn, meeting for only the second time ever, had a tear-down-the-house 20-minute match that had the good blue collar people of America’s Nuclear Submarine Heartland going absolutely nuts and bananas. This was, indeed, a great match, one of the best I’ve seen all year: neither guy worked heel, but both of them wrestled as though they were actually trying to win an athletic competition, which is rarer than it should be in pro wrestling. Dunn dominated the first half of the match by keeping Cross on the ground and softening him up with wear-down holds to try and create openings for hard strikes. In the second half, Cross was finally able to take to the air, and made his spectacular offense seem credible and devastating. There were, by my count, three “This is awesome” chants, a “Both these guys” chant, and a “Fight forever” chant. People LOVED this match. YOU SEE, VINCE? PEOPLE ACTUALLY LIKE WRESTLING WHEN ok I’m not going to start with that. But it was nice to see a normal American wrestling crowd go nuts for a match that would not be out of place in Reseda or wherever the hell PWG shows are now. 

[micaramel]

Working to capture mirror images of society, street photography is a reflection of the urban landscape. Street photographers create time capsules of our world, documenting the big and small moments of life. And while we often reflect back on the top photographers of vintage eras, what about street photography today?

Who are the photographers picking up the baton from greats like Henri Cartier-Bresson, Paul Martin, and Walker Evans? Today, the best street photographers often work with commercial clients or as photojournalists by day, using their own time to pursue a passion of documenting the streets.

By jumping in fearlessly, getting involved in the community, and waiting for that decisive moment, they are active in photographing the urban landscape. Certainly, years from now, we'll be looking to them for a history lesson on what the 21st century looked like.

Take a look at our list of contemporary street photographers who are shaping the way we view the modern world.

Eric Kim

Image via Eric Kim

Image via Eric Kim

Eric Kim is one of the most influential street photographers today, not only due to his candid photographs, but his willingness to interact with fans. His blog is an informative resource for any street photographer, with musings on how to make your work go viral and how to find personal meaning in your photography. His popular YouTube channel not only gives street photography tutorials, but takes you behind the scenes while he's out shooting.

  Lee Jeffries

Image via Lee Jeffries

Image via Lee Jeffries

With his landmark series Lost Angels, UK photographer Lee Jeffries captured stunning portraits of the homeless. Not a street photographer in the sense of shooting candid moments, Jeffries engages with the community, seeking out and creating connections with his models that translate into soul-bearing portraits.

  Boogie

Image via Boogie.

Image via Boogie.

Vladimir Milivojevich, better known as Boogie, is a Serbian street photographer who gained recognition through his work on the streets of New York. Shooting classically in black and white, Boogie's work is an unflinching look at society. He's known for shining a light on situations we'd rather overlook, whether it's people doing drugs or children left neglected in the street. His photographs serve as a reminder that we cannot pretend the rougher sides of life do not exist.

  Rui Palha

Image via Rui Palha. READ MORE: Recording Moments Along the Streets of Lisbon

Image via Rui Palha.

Based in Lisbon, Rui Palha shoots his images in the style of classic street photographers. Sneaking stolen moments off the streets of Portugal, he paints a portrait of the capital city. He actively shares his work on Facebook, via his Street Photography, page. “Photography is a very important part of my space… it is to discover, it is to capture giving flow to what the heart feels and sees in a certain moment, it is being in the street, experiencing, understanding, learning and, essentially, practicing the freedom of being, of living, of thinking….”

  Shinya Arimoto

Image via Shinya Arimoto. READ MORE: Eccentric Characters of the Streets of Japan Captured on Film

Image via Shinya Arimoto.

Shinya Arimoto is a professor of photography at the Tokyo School of Visual Arts. In his spare time, he shoots offbeat characters on the streets of Tokyo. He spends hours out in the city, feeling that it's fundamental to make contact with as many people as possible in order to obtain the best work. “I photograph people struggling against but again also benefiting from their environment here in Tokyo. I think that among the two, I’m interested in finding common denominators as human beings.”

  Donato di Camillo

Image via Donato di Camillo. READ MORE: Man Who Taught Himself Photography in Prison Captures Raw and Intimate Portraits

Image via Donato di Camillo.

Donato di Camillo‘s entry into photography was unusual—he took up the craft while serving a prison sentence. Upon his release in 2012, he was introduced to the work of modern masters Bruce Gilden and William Klein, which pushed him toward street photography. Considering himself an outsider, his work often captures people on the fringes of society. “I love the amazing differences in people and how beautifully unique we all are. Good bad or indifferent; People never cease to amaze me, they often answer many of my own questions. The littlest detail, maybe in the eyes or the way someone walks can be the difference of making a photograph.”

  Constantin Mashinskiy

Image via Constantin Mashinskiy. READ MORE: 365 Days of Documenting Parisians Through Stunning Street Portraits

Image via Constantin Mashinskiy.

Russian photographer and designer Constantin Mashinskiy spent a year investigating the difference faces of Paris in his series 365 Parisians. By continuing his work even after the year was finished, he's amassed an impressive archive that weaves a tale of the people who make a city. From elegantly dressed women to overworked line cooks, Mashinskiy expertly crafted portraits both feed into and defy our expectations of the cosmopolitan city.

  Phil Penman

Image via Phil Penman. READ MORE: Interview: Dynamic Street Shots Document the Quirky Everyday Scenes of New York City

Image via Phil Penman

Phil Penman‘s offbeat, black and white photographs document intriguing aspects of everday life in New York City. Originally from the UK, Penman now calls New York his home and when he's not photographing celebrities for People and USA Today, he's out on the streets, camera in hand. “Every morning, I head out the door armed with my Leica M and bike, and all I ever hope for is to come home with just one image I’m proud of. I’m drawn to those individuals who are not trying to be cool or would even think they are, but just have great character and style.”

  Zack Arias

Image via Zack Arias.

Image via Zack Arias.

Based in Atlanta, photographer Zack Arias is a force in contemporary street photography. Also a commercial photographer, he's known for his work with music stars and commercial giants like Coca-Cola. He brings the bold, dynamic style of these ventures into his street work and via his role as Fujifilm's official representative photographer, his influence encourages others to bring their cameras into the streets.

  Angelo Ferrillo

Image via Angelo Ferrillo.

Image via Angelo Ferrillo.

Angelo Ferrillo left behind studies in engineering to pick up a camera, and has not looked back since. Working as a photojournalist, he is also part of the Italian Street Photography Association and is a Hasselblad ambassador. Whether capturing candid moments in his native Italy or shooting a series about Bataclan one year after the terrorist attack, Ferrillo's is the work of an adept storyteller.

The post 10 Street Photographers Who Are Immortalizing Our Modern World appeared first on My Modern Met.

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