02 - Street Photography Insights: An Interview with Paul Kessel

A conversation on street photography, creative passion and personal perspectives on the genre.

It is a great honor for me to welcome Paul Kessel as the second interview guest on my blog and to give you a few exciting insights into his work and his perspective on street photography. The first time I consciously heard of Paul or saw his photographs was when I watched the film “Fill the Frame,” which had only recently been released at the time. Street photography was still new to me back then, and I was immediately fascinated by the glimpses into the working methods of the photographers featured in the film. Paul, however, stayed with me in a special way. On the one hand because he had a powerful, personal story to tell, and on the other because his images grabbed me right away. Especially because his style is the kind of street photography that fascinates me most: a wonderful blend of everyday situations that often get an unexpected twist and, through that, become something truly special. At the same time, many of his photographs contain a subtle complexity that only fully reveals itself on a second look, and that is extremely demanding to execute at such a level. For me, that is a clear sign that Paul is among the outstanding street photographers who have been working in New York in recent years. The high quality of his images also shows how much time he has truly spent out on the streets — a great reminder that exceptional street photography only comes from real effort, genuine passion, and consistent work on one’s own standards.

During one of my trips to New York in 2024, we actually ran into each other by chance on the street and had a short but very pleasant conversation. About six months later I visited Paul and received his book “Look Look Look” from him. It is a collection of his best photographs and without any doubt an absolute gem — one of those photo books you keep coming back to because it inspires, challenges, and reveals new details every time. In my view, it is a volume that should not be missing from any street photographer’s bookshelf.

You can find his website and more of his work at the following links (and of course buy his book):

Website: https://www.paulkessel.com/

Instagram: https://www.instagram.com/streetskessel/

All photographs in this post are © Paul Kessel. Used with permission.

Thank you for selecting me to interviewed. I have been interviewed several times in the past and it is always tempting to repeat myself. That tendency is parallel to taking pictures on the street where each photograph is a repeated version of one’s “style” and if contests are entered, it is often a recycling bin of photographs. Creating something new rarely happens. That is a major problem with the current state of street photography, including my own photos. If something works, do it again. Does street photography have a Picasso who can recreate himself over time with new paradigms? I am not so sure. I have made an effort not to repeat previous interviews.

How did you first get into street photography, and what made you stay with it?

I began street photography twice. First in the 1960’s when I went out with a camera and took candid photos without knowing it is street photography. That lasted only a few days until the camera went back in the drawer for many years except for a few vacation pictures. Then about forty years later, I started courses at the International Center of Photography (ICP). My interest was portrait photography which I pursued earnestly for about three years. I had a home studio with loads of the finest lighting equipment. Suddenly, one day I re-discovered street photography. There was an opening at Maine Media Workshops for a one-week street photography course. I took it because it seemed to be the most interesting of available courses. After a week of many bad photos, I continued in New York and ICP. It seemed like a good fit. In the past, I often wandered the streets without a camera observing people. There was an appeal for me to do this with the goal of taking pictures I liked. Moreover, I had previously enjoyed playing competitive golf for over fifty years. It was a passion and for various reasons I could no longer play golf. Street photography became a substitute for me. In my mind, I equated street photography with golf. There are many parallels including, momentum, flow, occasionally getting in “the zone”, the hindrance of “trying” as opposed to openness and “letting it happen”, mostly less than very good shots, occasional excellent shots, and contests were like tournaments for me. I became immersed, no, addicted is more accurate. Street photography is primarily about failure and an occasional good shot among many failures is a recipe for addiction.

How has your style evolved over time, and who or what has influenced those changes?

When I began street photography, it was all about portraits. I then discovered Alex Webb and from that point on, I was after multi -layered pictures with multiple activity going on. Now, it was really all about failure! Nevertheless, I continued to strive for such shots that fill the frame with layers and multiple activities. I am much more skillful at focusing on single individuals, but I try to avoid that. It requires a different and more complex kind of perception to get the photos that interest me.

What does a typical day of shooting look like for you? Do you follow a certain routine?

Until about a year ago, I would never consider leaving home without a camera. I seemed to have aged a lot more recently and I am out much less now and sometimes without a camera. (I am 88). Some days I go out specifically to shoot and for many years, it was almost all day. Other times, the camera was available as I went about the business of the day. There have been long time periods where I would return to the same area constantly. These locations became projects. (e.g.: Coney Island, Soho, Times Square, Williamsburg, Columbus Circle). Sometimes I would stay in one spot for hours and other times I would keep moving. Occasionally projects were not confined to locations.

Do you ever interact with the people you photograph, or do you prefer to remain invisible?

I rarely interact. I prefer to be more of a fly on the wall and not be seen. Of course, from 3-6 feet away, I am often seen. Most of the time people are not sure if I am taking their picture. Usually, I am as interested in the entire scene as I am interested in any single person.

How do you see the current state of street photography? Do you feel the genre is evolving, repeating itself, or something in between?

The current state of street photography appears to be strong. There are many young film photographers as well as digital photographers. Excellent woman photographers are an ever-increasing presence. There is a smaller group of older photographers, such as me who came to photography later in life. In my opinion, there are way too many pictures being shown on social media. Too many street photographers seem to post almost every picture they take and don’t bother to edit for the very few excellent photos. I believe that achieving 10 worthwhile photos per year is a good number, yet so many post 10 photos every time they shoot.! Too often, people that photograph events seem to have no understanding of editing. I am a firm believer that one good photo has a much greater impact than a bunch of adequate photos. I notice that there is a trend of posting the best photo first in a sequence followed by watering it down with multiple mediocre images. All too often pictures are of “low hanging fruit” There is often lack of effort to “make” a more difficult and intricate photo. A few younger photographers act as if they should receive a medal for confronting a single individual, often with flash and closeup. There are too many forgettable one-line jokes and probably because of increased paranoia in society, too much of a trend towards street portraits by consent. Portraits may also look better than wider scenes on Instagram. Every endeavor has problems. Overall, there is excellent work out there.

You have been photographing New York for a while. How has the city changed in recent years?

Most of my New York City street photography is confined to Manhattan. Except for less crowded streets during the pandemic and perhaps a bit less crowded even now, I am unaware of striking differences from when I began around 2012.

You often take part in contests. Why is that, and what do you get out of it?

I have mixed feelings about contests. Judging is often bias toward the same kind of photos we have all seen. Of course it is very subjective as well, Too often, contests repeat the same judges and the same participants. Very much too often, the same pictures are shown repeatedly in multiple contests. Money making is a driving force for many contests. Often, the best photographers don’t participate and of course, contests are a financial burden for many. That said, I enjoy competing in contests and I have been fortunate to do well a good deal of time. It is a competitive game or sport for me, and it reminds me of participating in a sports event. What do I get out of it? Momentary tension and a bit of an excited charge if I qualify or win. It doesn’t last.

Tell us a bit about your book released this year. Why did you decide to publish it, and what did you want to achieve with it?

“Look Look Look, published in Europe by Snap Collective was published in 2025. It consists of many of my better candid street photographs. Previously, I had culminated projects by making a “Blurb Book” I had a desire for a published book and when I was offered the opportunity, I jumped at it. Basically, I wanted a record of what I have been doing during this period of my life. Unfortunately, the book does not receive any publicity from the publisher, and it can only be purchased through the publisher. The price is way too high. So, it seems to have ended up being a vanity project for my daughter and grandchildren to see.

You show various projects on your website. Are they carefully planned, or do they arise more spontaneously, sometimes even by chance?

The projects shown on my website, emerge from the edit. I don’t preconceive most of them. An ongoing non-street photography project which I have been working on for a long time consists of pictures from my window. My apartment is on the 19^th floor and overlooks Central Park with Fifth Avenue in the background. I keep watching for interesting light, and changes in the sky. Occasionally I will zoom in and photograph groups of people in the park. This is the only time I use a zoom lens. For street photography I use a full frame 28mm lens. For a number of years previously, I used a 35mm lens. I don’t want to end the interview with an equipment issue. I have learned that pretty much any equipment and lens can work well. It is the photographer’s state of mind and persistence that matter.