Gabrielle Astruc, James Cranch, Neil Johansson and George Kampolis | Paris International Street Photo Awards 2024
The Paris International Street Photo Awards celebrate the art of street photography, showcasing talented photographers and their unique perspectives on urban life. Each year, this prestigious competition highlights remarkable talent across a range of categories, from black-and-white storytelling to dynamic themes like golden hour and street life with children.
We are thrilled to announce that several members of our community have received honours at this year’s awards. Gabrielle Astruc, James Cranch, Neil Johansson and George Kampolis have been recognised for their outstanding work, earning accolades in categories such as Black & White Street Photography, Classic Street Photography, and more. Their achievements not only demonstrate their incredible skill and creativity but also reflect the vibrant and diverse talent within our community.
To celebrate their achievements, we decided to ask a set of questions to each of them to learn more about their creative process, inspirations, and the stories behind their award-winning images. Their insights offer a fascinating glimpse into the world of street photography and the dedication it takes to capture moments in everyday life.
Gabrielle Astruc
Gabrielle Astruc is a street photographer born in Paris. After moving to the United States in 2010, she has been living and working in New York City since 2012. Photography has always been an integral part of her life, allowing her to explore the world through her lens.
Gabrielle is drawn to the unpredictable and impulsive nature of street photography. She specialises in capturing candid and mischievous moments, as well as urban colours and geometric compositions. Her ability to find beauty in the everyday and transform real-life moments into captivating imagery is what sets her work apart.
Her talent has earned her recognition on the global stage, including a Silver Medal and Honourable Mention in the Classic Street Photo category, and a Bronze Medal in the Golden Hour category at the Paris International Street Photo Awards 2024.
VS: What inspired you to start exploring street photography, and how has your style evolved over time?
GA: My passion for photography started with my father, who is an architect and a hobbyist photographer. He gave me his old film camera when I was 15 years old and I immediately fell in love with the medium.
It took some time for me to narrow my passion down to street photography. I travelled quite a bit in my life before permanently settling in New York. Photography for a long time was a way for me to memorialize the shapes, colors and inhabitants of all the cities I had visited. But I would rarely photograph the city I lived in.
New York became my home over 10 years ago and I absolutely love this city. After I moved I had this strong desire to capture this incredibly rich and contrasted city and that's when I really converged to street photography. I got hooked to the unpredictable and impulsive aspects of street photography right away. I am a tireless walker and enjoy nothing more than taking long walks with my camera and a good playlist running. The world always finds ways to surprise me and I get a kick out of capturing real moments of life and beauty on the street.
VS: Can you tell us about the thought process or story behind your winning images?
GA: All the shots in the series were taken in NYC. I built it with the idea to create an ode to my NYC. I am often frustrated at the stereotyped NYC street photography I see on Insta: Black and white, highly contrasted and filled with atmospheric and mysterious smoke effects. Some of those shots are beautiful but they are so far from the city I see every day: vibrantly colorful, dynamic, inhabited by diverse and strong characters.
VS: What challenges do you face when capturing street photography, and how do you overcome them?
GA: I can only shoot in a very specific state of mind. And reaching it can be quite challenging. The best way I would describe it is a state of hyper-awareness and childlike wonder. Music helps me a lot. I always shoot with my headphones on.
Apart from that I think establishing the right connection with my subjects is probably the biggest challenge I face. I always try to gain my subjects’ trust and portray them compassionately. I don't like images that feel mocking. I always aim to convey warmth and empathy.
VS: Are there any photographers or artists who have significantly influenced your work?
GA: So many! I have an insatiable appetite for studying others photographers' work. The giants: Saul Letter, Vivian Maier, Robert Frank, Diane Arbus of course, like many street photographers. I also love Ronan Guillou, Greg Girard, Barbara Crane, Mary Ellen Mark, Yasuhiro Ishimoto, Martin Parr etc. etc.
VS: What advice would you give to someone just starting out in street photography?
GA: I don't know that I am in a position to give advice to anyone as a photographer. But as someone who loves to consume images my hope would be for all photographers out there to trust their instinct, not try to conform to trends and just shoot what moves them. I gave a camera to my son when he turned three and seeing him impulsively shoot what he finds beautiful on the street reminds me how instinctive photography should be. So let's all try to connect with our inner child?
You can explore more of Gabrielle’s work on her Instagram or through her personal portfolio.
James Cranch
James Cranch is a street photographer coming from a family of photographers. James didn’t pick up a camera until he turned 30, but with guidance from his parents, he quickly developed his skills and found a style that resonates with him.
When he’s not working as a train guard, James captures raw, emotive moments of urban life, often in striking black and white. His dedication and eye for detail earned him an Honourable Mention in the Black & White Street Photography category at the Paris International Street Photo Awards 2024.
VS: What inspired you to start exploring street photography, and how has your style evolved over time?
JC: When I first started I was just taking photos of anything and everything while getting to grips with using a camera. Then, as I started following more pages on Instagram, I found myself drawn towards street photographers and found that that style resonates with me.
As I have progressed, I have gravitated towards monochrome photos focusing on contrast and light and shadow and that's primarily what I do now, however that's not to say I won't play around with colour at times too.
VS: Can you tell us about the thought process or story behind your winning series?
JC: Full transparency; I don't often put a lot of thought into what I am shooting. There are times where I find a scene I like and will wait for a subject to walk into frame and, other times, when it is a split second thought of "oh I like that" and I will take a shot. The images in this series are a mixture of impulse and waiting for a specific shot.
VS: What challenges do you face when capturing street photography, and how do you overcome them?
JC: There are often times where I lose motivation or find I just can't get any shots I like. When this happens, I will often try to change up equipment or my editing style.
VS: Are there any photographers or artists who have significantly influenced your work?
JC: Photographers such as Mark Fearnley, Phil Penman and Kevin Pineda Gould are big influences for me.
VS: What advice would you give to someone just starting out in street photography?
JC: Shoot everything and make friends with other photographers so you can push each other and bounce ideas off each other.
You can explore more of James’ work on his Instagram or his personal portfolio.
Neil Johansson
Neil Johansson is a skilled street photographer with a passion for telling stories through his images. He first developed an interest in photography during his Art A-Level in the early 2000s. After studying Law, Neil returned to photography and began to focus on street and documentary work.
In 2013, Neil won a place at Goldsmiths’ International Urban Photography Summer School, an experience that transformed his approach to photography. He continued to develop his skills during a placement at Goldsmiths’ in 2014. As a member of the Royal Photographic Society, he earned his ARPS distinction in 2018 and is currently working on several long-term projects, including his FRPS panel.
Neil’s talent has been recognised internationally, earning him Honourable Mentions in three categories: Black & White Street Photography, Contrasted (Deep Dark Shadows), and Street Winter (Rain, Snow...) at the Paris International Street Photo Awards 2024.
VS: What inspired you to start exploring street photography, and how has your style evolved over time?
NJ: It’s been a gradual thing for me, I started out just going out with my camera and photographing my home town. It’s evolved from there.
My process has changed over the years, as when I go out now I’m looking for specific things; I always have projects on the go. Learning about projects was a massive development for me.
I would say my style has always been there, I’ve just honed it.
VS: Can you tell us about the thought process or story behind your winning images?
NJ: I’ve had honourable mentions for three images this time:
A Day In The Rain – I was out in London and it rained heavily all day, I had my canon compact and turned a disadvantage into an advantage, I took photos of umbrellas. This image was the best of the images I took that day.
Society – this was taken in Chester very quickly, I cropped it afterwards, I wasn’t sure it would come out when I took it having had to take it so quickly. I’m really into Film Noir and stylish imagery.
Through A Glass Darkly – I took advantage of broken glass on a shelter on Llandudno seafront. I had to take several shots to get this one.
VS: What challenges do you face when capturing street photography, and how do you overcome them?
NJ: The main challenge for me is to keep things fresh and interesting. Trying to find something new is difficult as it’s all been done before one way or another, it can be disheartening at times.
The only way through is just to keep taking photographs.
VS: Are there any photographers or artists who have significantly influenced your work?
NJ: There are several, but mainly David Lynch, Daido Moriyama and Saul Leiter.
VS: What advice would you give to someone just starting out in street photography?
NJ: Just simply to go out take photographs as often as possible. Shoot first ask questions later. The rest will follow.
You can see more of Neil’s work on Instagram or his personal portfolio.
George Kampolis
George Kampolis is a UK-based street photographer originally from Athens, Greece. He specialises in black-and-white photography, focusing on capturing people, places, and everyday life with a unique perspective. Through street photography and multidisciplinary projects, George explores the diverse ways people navigate the world, using these moments as a catalyst for his creativity.
His photography has also been featured by Street Photography International, exhibited at the Glasgow Gallery of Photography, and published in The Guardian. Previous exhibitions include showings at the Benaki Museum in Athens, the Prague Quadrennial of Performance Design & Space, and group exhibitions in Athens and Chania, Greece. His work has also appeared in album covers, posters, and both print and digital formats.
Beyond photography, George has a background in engineering and is currently pursuing a PhD in wind energy.
George’s work has been widely recognised, earning an Honourable Mention in the Street & Children’s category at the Paris International Street Photo Awards.
VS: What inspired you to start exploring street photography, and how has your style evolved over time?
GK: For me, street photography came almost by accident. A friend introduced me to photography during my undergrad, and I explored the medium without really finding my niche at first. However, I had a sense that something had clicked. The technical side felt intuitive; although I couldn’t play music or draw to save my life, the technical aspects of photography became second nature fairly quickly, and I felt like I had finally discovered a new way to express myself without it feeling like a chore. Unfortunately, my equipment was stolen soon after.
When I managed to return to it around three years ago, I had already been exposed to street photography and reportage, particularly from the post-Second World War period. I realised that the people documenting life then experienced it as modern, and their work has aged gracefully, providing us with a glimpse of how people lived at that time. I found that particularly appealing — the thought that time was not necessarily the enemy here. Combine that with the idea that it’s not just about documenting but elevating life through artistic considerations, and I was sold.
I still had to find my rhythm, and I feel everything came together only in 2024 after recovering from a health scare and having work that afforded me more travel opportunities. Acquiring a smaller camera system that I could easily fit in my backpack and carry around during the downtime between conference days was extremely beneficial for my growth as a photographer. I quickly became the cliché of (almost) always having a camera with me now.
VS: Can you tell us about the thought process or story behind your winning image?
GK: I walked past a Chinese supermarket in Glasgow’s West End on my way to a nearby bus stop. The shop had plastic strip curtains at the entrance, and I thought this would be a nice layer to incorporate into a frame. I instinctively took out my camera, thinking that a slow shutter speed would capture some of the movement of the strips. A young girl was stepping out in front of a family member accompanying her to her left. As she hit the light outside first, she raised her hands to push the curtains and paused to glance at the camera. I didn’t have time to raise the camera to my eye, so I snapped the picture at waist level, which, in retrospect, was the right decision as it was approximately at her eye level - at that moment, it was purely instinct.
We all smiled at each other, and they continued on their way. In the back of my mind, I was slightly worried about the slow shutter in what turned out to be a static shot, but I was pleased to find out it turned out all right. Needless to say, I missed my bus, but I didn’t care!
VS: What challenges do you face when capturing street photography, and how do you overcome them?
GK: These days, it mostly feels as though photography is competing for time with work and everything else happening in my life. I try to carve out space for it, but sometimes I might have a month with very few shots and another seemingly filled with photo opportunities.
The potential for confrontation used to be a limitation, but I’ve mostly grown out of it (after the first few warm-up shots, at least), although I still approach it in an ethical and, as much as possible, non-invasive manner. I stick to public places because I don’t want anyone to feel as though their expectation of privacy has been betrayed. The flash-and-run approach is not for me.
Besides that, there is an element of exposure therapy: if an approach feels difficult, I keep at it until I’m satisfied I gave it an honest try. Moving from longer to shorter focal lengths has been such a challenge, and it pushes my composition skills in the process as well.
VS: Are there any photographers or artists who have significantly influenced your work?
GK: That’s an interesting question because I assume I have likely been subconsciously influenced by artists besides the more obvious connections. The democratisation of the medium and the wave of new images afforded by various platforms are fantastic, and all contribute towards an ever-evolving visual culture. Even being aware of it all would probably encourage some subconscious adoption or avoidance of certain methods, and all of them are valid, of course.
I use photography as a form of self-expression and allow myself the freedom to explore in whichever direction and approach the scene calls for. Sometimes, that might be quite minimalist, while at other times, it involves many layers and textures; it’s all fair game and part of the process of learning and improving. The by-product, I suppose, is that I can’t as easily identify all my influences.
However, I would be remiss if I didn’t acknowledge that I stand on the shoulders of giants who inspired me, especially during my early learning stages. In no particular order: Robert Capa, Vivian Maier, Saul Leiter, Elliott Erwitt, Enri Canaj, Eve Arnold, Yannis Behrakis, Alan Schaller, and Dorothea Lange. I must also credit many painters for teaching me how to see light; Vermeer, Gentileschi, Caravaggio, and Rembrandt are among the more notable ones. In any case, I’ve started down the rabbit hole of photography books, so I’m sure the list will be expanding soon!
VS: What advice would you give to someone just starting out in street photography?
GK: Obviously, this is what worked for me, but I felt that after the obvious first step of figuring out the technical aspects, it’s all about the mentality and what can hold you back.
For me, it was the potential confrontation and committing to trying different things until you could do them quickly in a fast-paced scene. It’s understandable to be worried about the prospect of a confrontation in the street. Take a quick look at the applicable laws in your area so you know in advance where you stand if someone threatens to call the police or if you take photos in public spaces. That’s hypothetical, and I’m pleased to say that I’ve been fortunate to encounter issues only once, and in that instance, I offered to delete the photo and move on.
A good tip here is to hover for a bit and raise the camera if you find a scene you like. People who will be arriving might apologise for stepping into the frame because you were there before them. And if you like your silhouettes, you can diffuse many situations by showing that no identifiable characteristics have been captured.
Be intentional and fully commit for a time when exploring a new technique. For example, if you wish to try black-and-white photography, set your camera preview to B&W. With colour removed, texture and “pools” of light become significantly more important, and you will discover what resonates with you. You may choose to return to colour or shoot both styles equally, and that’s absolutely fine. Are you interested in trying zone-focusing instead? Keep the camera in manual focus for a while and learn to judge distances. It might not be suitable for you, but you’re broadening your skill set and understanding in the process. The same goes for composition. Ultimately, the aim is to perform these tasks swiftly and almost instinctively so you don’t miss decisive moments.
You can explore more of George’s work on Instagram or visit his personal portfolio.
As we wrap up this feature, we want to extend our congratulations to James Cranch, Neil Johansson, George Kampolis, and Gabrielle Astruc for their achievements at the Paris International Street Photo Awards. Their creativity to capturing life’s ephemeral moments have not only earned them well-deserved recognition but also continue to inspire other photographers in our community and worldwide.
