“Simple Happiness” by Amir Behroozi (Iran). Taken in Iran, 2015

What does the word “joy” mean to you? This is a question that 56 photographers from 22 countries answered with their images for the third edition of the In Colors Project, which is themed around this concept. The resulting exhibition of 75 works offers a poignant glimpse into what joy looks like around the world.

In Colors Project: JOY is an initiative by Lumicroma. This Portugal-based online magazine and photography platform came to fruition during the pandemic as a way to promote visual culture. Now, it has expanded into a physical location, with JOY on view at the Centro de Arte de São João da Madeira in Portugal, as well as Lumicroma's website.

Curated by Aníbal Lemos and Sandra Maria Teixeira, the exhibition shows joy in myriad forms. From a toddler playing on a rainy day to a man taking in a glacier under the Milky Way, these visuals give meaning to an abstract emotional concept. As a viewer, it's fascinating to see which images resonate with our own personal feelings around joy and which others push us to reconsider our own definitions.

Scroll down for a preview of the exhibition and then head to the Lumicroma website to view all of the images and vote for your favorite.

The In Colors Project: JOY exhibition is a fascinating look at what this emotion means to photographers around the world.

“Untitled” by Juan Rodríguez Morales (Spain). Taken in Pontevedra, Spain, 2020

“Ode to Glaciers: Sentinels of Climate Change” by Luigi Vagamo (Italy). Oulettes, France, 2024

“Via Sant'Agostino” by Lucrezia Testa Iannilli (Italy). Taken in Palermo, Italy, 2019

“The Little Prince” by Ângela Berlinde (Portugal). Taken in Amsterdam, Netherlands, 2004

“Christening of an Artisan Fishing Boat” by Paulo Monteiro (Portugal). Taken in Rabo de Peixe, São Miguel Island, Portugal, 1998

Exhibition Information:
In Colors Project: JOY
July 5, 2025–September 27, 2025
Photography Gallery, Centro de Arte de São João da Madeira
Rua Paula Rego, São João da Madeira, Portugal

Lumicroma: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Lumicroma.

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READ: Photographers Visualize the Meaning of “Joy” in Group Exhibition

The Williamsburg Bridge is one of the main arteries of New York City, connecting Manhattan and Brooklyn. According to the city government, in 2022, an average of 92,000 vehicles, 4,000 pedestrians, and 7,000 cyclists traveled over the Williamsburg Bridge every day. Photographer Adam DiCarlo has set his sights on the latter, capturing the myriad of commuters who cross the Williamsburg Bridge.

DiCarlo, who is a freelance photographer and videographer, got the idea to take candid images of New York's cyclists after being hospitalized a year and a half ago. Determined to engage more both with people and the city, he took a test photo one day as he crossed the Williamsburg Bridge onto the Manhattan side.

“Seeing the potential for a frame that shows the essence of both the city and its people,” he explains to My Modern Met, “I started waking up at 6 a.m. often and heading to the bridge to capture the morning light as it rises behind the early morning commuters.”

DiCarlo's images, which he shares on his @ridersnyc Instagram account, show the thousands of stories that make up New York and keep the bridge active. There are commuters on their way to the office, delivery workers, experienced cyclists with top-of-the-line gear, and people on leisurely rides. There are personal vehicles and Citi bikes; helmets and unprotected heads; outfits for all the seasons; people of all ages and all walks of life.

To take these photographs, DiCarlo sets up shop on the Manhattan side of the Williamsburg bridge, “facing east—back over the bridge,” he explains. The photographer is aided by a narrow concrete ramp, which forces cyclists to go single-file between the two concrete pillars that frame each photo.

The reactions to having a portrait taken by DiCarlo have been as diverse as the riders themselves. “Mostly surprised happiness with some middle fingers and a couple curses thrown in occasionally,” the photographer says. “Lots of smiles and nods and the occasional high speed high five. It feels like a little boost of energy in the morning and seemingly for others too. Something to look forward to I would hope.”

For DiCarlo, the best part of this project is acknowledging those that make up New York City but are unseen by most. “Whether it be small details in the items someone carries on them or others or whole individuals that are often overlooked like messengers and delivery people.”

DiCarlo says that an exhibition and book launch around this project are currently in the works, adding that he plans to show some photographs and a short film at a space on the Lower East Side. To stay up to date with him and the Williamsburg Bridge riders, you can follow Adam DiCarlo on Instagram.

Photographer Adam DiCarlo captures the myriad of commuters who cross the Williamsburg Bridge every day.

“Seeing the potential for a frame that shows the essence of both the city and its people, I started waking up at 6 a.m. often and heading to the bridge to capture the morning light as it rises behind the early morning commuters.”

DiCarlo's images show the thousands of faces, each with its own story, that make up New York and keep the bridge alive.

There are commuters on their way to the office, delivery workers, experienced cyclists with top-of-the-line gear, and people on leisurely rides; this includes people of all ages and from all walks of life.

To take these photographs, DiCarlo sets up shop on the Manhattan side of the Williamsburg bridge, “facing east—back over the bridge,” he explains.

The photographer is aided by a narrow concrete ramp, which forces cyclists to go single-file between the two concrete pillars that frame each photo.

For DiCarlo, the best part of this project is acknowledging those that make up New York City but are unseen by most.

“It feels like a little boost of energy in the morning and seemingly for others too. Something to look forward to I would hope.”

Adam DiCarlo: Instagram

My Modern Met granted permission to feature photos by Adam DiCarlo. Quotes have been edited for length and clarity.

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READ: Photographer Captures Diverse Range of Cyclists Who Cross the Williamsburg Bridge Every Day

The Darned Club, October 29, 1891. Collection of Historic Richmond Town

A prominent street photographer of the late 19th and early 20th centuries is seeing her archive come home. More than 7,500 original prints and negatives by Alice Austen are being transferred to her Staten Island home, now known as the Alice Austen House. This will give the structure a near-complete archive of her work.

Austen had donated the archive to the Staten Island Historical Society (now known as Historic Richmond Town) when she was evicted from her home in 1945. After 80 years of care, Historical Richmond Town has returned the work to its original home, where it will be welcomed with open arms.

Known for her street photography and her glimpse into the lives of women during the Victorian era, Austen is held in high regard. She was one of the first female photographers to work outside of a studio, hauling her heavy equipment to Manhattan, where she would photograph immigrant populations and the working class. Independently wealthy, she didn't rely on photography to support her, which gave her enormous freedom in her subjects.

That freedom is fortunate for viewers, as her work is a rare glimpse into Victorian America. However, her work is also deeply personal and serves as a beautiful documentation of the life she shared with Gertrude Tate. The women, who met in 1897, lived together for over 30 years in Austen's Victorian mansion, which is now the Alice Austen House. In 2017, the site was designated a National LGBT Historic Site, and the addition of the archive only enhances our understanding of their loving, long-term relationship.

To make the archive available to a wider public, Alice Austen House has announced plans to digitize it in its entirety, starting in late 2025.

“This transfer marks a pivotal moment—not only for our institution, but for the broader cultural landscape—at a time when LGBTQ+ communities face renewed threats of erasure,” shares Victoria Munro, executive director of the Alice Austen House. “Museums must lead in preserving and amplifying these vital legacies, and we are proud to do so.”

More than 7,500 original prints and negatives by 19th-century photographer Alice Austen are being transferred back to her Staten Island home, the Alice Austen House.

Mr. Montgomery Uncle Brother, Bay Head NJ, August 25, 1895. Collection of Historic Richmond Town

Alice Austen, Trude, and Carrie Post, June 15, 1888. Collection of Historic Richmond Town

Mrs. Snivley, Jule and Alice Austen in Bed, Bennington, VT, August 29, 1890. Collection of Historic Richmond Town.

Two People in Costumes. Collection of Historic Richmond Town.

Jack, Ben, Julia Bredt & Alice Austen, October 21, 1890. Collection of Historic Richmond Town.

Austen is known for giving glimpses into the lives of women during the Victorian era.

Group of Women at Clear Comfort. Collection of Historic Richmond Town.

Alice Austen In a Rowboat in the Trossachs, 1903. Collection of Historic Richmond Town.

Alice Austen and Gertrude Tate in a Rowboat in the Trossachs, 1903. Collection of Historic Richmond Town.

Julia Martin, Julia Bredt, and Alice Austen dressed up. Oct. 15, 1891.

Violet Ward and a Friend at Clear Comfort, ca. 1900. Collection of the Alice Austen House.

Gertrude Tate with Her Wig in Hand, 1899. From a photo album Alice made for Gertrude. Collection of the Alice Austen House.

She was also a trailblazer in street photography.

Policeman, ca. 1896. Collection of the Alice Austen House.

Pretzel Vendor and Emigrant, ca. 1896. Collection of the Alice Austen House.

Self-taught, she was one of the first female photographers to work outside the studio.

Guy Loomis, Alice Austen, and Gertrude Tate in Car, April 23, 1910. Collection of Historic Richmond Town.

Tombstone Trude & Mr. Hopper ‘Yes’, Watkins, NY, August 3, 1892. Collection of Historic Richmond Town.

Bethlehem Pennsylvania Tea Party Lark, February 20, 1892. Collection of the Alice Austen House.

Group Apparatus, May 23, 1893. Collection of Historic Richmond Town.

The Schlubachs G.A.T. EAA, October 13, 1907. Collection of Historic Richmond Town.

Alice Austen House: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by the Alice Austen House.

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READ: Over 7,500 Images From 19th-Century LGBTQ+ Photographer Alice Austen Come Home

Compared to other artistic media, photography is far more capable of time travel. Its ability to capture our past with such astonishing immediacy is unique, serving as more representational portraits of historic lifestyles. This is why Garry Pycroft is drawn to the medium, and also why he feels compelled to reinvent it.

Since 2020, the British digital artist has amassed a remarkable collection of old postcards dating back to the early 1900s. These postcards depict an array of environments, whether it be a public square with an impressive fountain in Dijon, France, or a bustling street in a French coastal town. Though Pycroft has traveled to and collected postcards from Austria, Switzerland, Canada, and Hungary, among other countries, much of his collection focuses on small towns in France, given that he lives near the French Alps.

“Many people here collect postcards of their hometown, but for me, when I look at them, I’m unable to connect with the people I see,” Pycroft tells My Modern Met. “The cards are primarily sepia and of course that’s not how we see life.”

As artifacts, these postcards do offer an indelible glimpse into 20th-century urban landscapes, but, in his practice, Pycroft also entertains how the past has not only evolved but continues to impact the present. Throughout the past five years, the artist has created over 1,000 “hyperlong exposure” photographs, merging old postcards with his own contemporary images of the same location.

“I love the whole process, from finding old photographs or postcards, identifying the location, photographing on location, and finally merging the two images,” Pycroft says.

The results are often seamless: black-and-white buildings gradually melt into color; vintage automobiles mingle with modern cars; people donning masks during the COVID-19 pandemic stare out upon those pulling wagons on a cobbled street. In a single image, the past and the present converge, showcasing how the “location itself may have changed little” whereas “our lifestyle has changed significantly.”

“When I add the image of today and incorporate the colors that we see, the door [to the past] is open,” Pycroft adds. “It’s almost like I’m giving these people a second life.”

To learn more about the artist, visit Garry Pycroft’s website.

Since 2020, Garry Pycroft has collected vintage postcards and combined them with his own contemporary photographs of the same location.

These “hyperlong exposure” photographs unveil both the similarities and differences between past and present.

“When I add the image of today and incorporate the colors that we see, the door [to the past] is open,” Pycroft says. “It’s almost like I’m giving these people a second life.”

Garry Pycroft: Website | YouTube

My Modern Met granted permission to feature photos by Garry Pycroft.

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READ: “Hyperlong Exposure” Photos Poetically Weave the Past and Present Together

“Dance Trio (Judi Jupiter Between JJ and Frankie),” Studio 54, NY, NY, July 1977

Capturing the energy of the disco era, Meryl Meisler‘s nightlife photography is a true time capsule. Taken in 1970s New York City, when Meisler worked as an illustrator and art teacher, they bring us into the pulsating beats that brought people of all ages, races, and sexual orientations to the dancefloor. Meisler's solo exhibition, Studio 54 & More, is a celebration of this imagery and the dynamic moment in history they capture.

It’s important to note that Meisler wasn't just a photographer searching for material; she was frequenting these nightclubs herself. “I don’t go out and take pictures. I take pictures where I go,” she shares. This allowed her to create connections with the flamboyant characters who spent their nights on the dance floor, thus making her photographs an insider's view of famous locations like Studio 54.

The show at Paris' Polka Galerie complements the Disco, I'm Coming Out exhibition at the Philharmonie de Paris, which also features Meisler's work. Collectively, they celebrate the world of disco and its importance to American culture.

“As a musical genre at the crossroad of various Civil Rights movements, Disco became a rallying point for queer, Latino, and Black communities,” says the gallery. “The blend of these groups would give rise to a rich iconography made up of the unbridled spectacle of a youth longing for freedom after the Vietnam War and the Watergate scandal. On the dance floor, Disco is a hymn for the freedom of expression.”

Incredibly, it's only in the last 15 years that Meisler has begun showing her disco photos publicly. After retiring from teaching iņ 2010, she began to explore her rich archives and publish her incredible photography. In doing so, she's allowed us to enter into this world and go back to those magical, carefree evenings.

Studio 54 & More is now on view at Polka Galerie in Paris until May 17, 2025.

Photographer Meryl Meisler spent the 1970s in New York City photographing its nightlife.

“Andy Warhol Smiling with Eyes Closed (Between his Friend and JudiJupiter),” Studio 54, NY, NY July 1977

“Nicole’s Silver Boots Stretched on Floor,” Studio 54, NY, NY June 1977

“Rejected from Studio 54 No No (with Judi Jupiter),” NY, NY, October 1978

“The Dance Floor,” Studio 54, NY, NY, July 1979 1/5

A new exhibition in Paris celebrates her stunning candid photos taken during the disco era.

“Crucify, Star Wars Party,” Fire Island Pines, NY, August 1977

“Trapeze Artist Michelle on A Night We Were Rejected from Studio
54,” GG’s Barnum Room, NY, NY, December 1978

“Dallas Performs Near Mirrors, Hurrah Wild Wild West Party,” NY, NY, March 1978

“I don’t go out and take pictures. I take pictures where I go.”

“Women's Next Move After Initial Embrace on Floor Near Judi Jupiter's Legs,” Les Mouches, NY, NY June 1978

“Exit Door, COYOTE Hookers Masquerade Ball,” Copacabana, NY, NY, February 14, 1977

“Spreading Wings at the COYOTE Hookers Masquerade Ball,” Copacabana, NY, NY, February 14, 1977

“Man In The Moon With An Animated Spoon,” Studio 54, NY, NY, August 1977

“The End (Meryl’s Writing on Judi Jupiter),” Les Mouches, NY, NY

Exhibition Information:
Meryl Meisler
Studio 54 & More
March 21, 2025–May 17, 2025
Polka Galerie
Cour de Venise, 12, rue Saint-Gilles, 75003 Paris

Meryl Meisler: Website | Facebook | Instagram

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

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READ: See What 1970s New York’s Pulsating Nightlife Looked Like in New Exhibition

New York City-based photographer Lerone Pieters uses the city as his muse. As a professional photographer, Pieters finds himself traveling around the city quite a bit, and in his downtime, he feeds his creativity by shooting evocative street photography. Using all the tools at his disposal, from his camera to post-production software, he produces cinematic photos of the city.

His moody night photos of New York are particularly intriguing. Often focusing on inclement weather, we often see lights bouncing off slick, wet asphalt as pedestrians scurry across the street with their umbrellas. In another image, a soft fog overtakes the Brooklyn Bridge, transforming this iconic piece of architecture into the mysterious main character of the frame.

Pieters' love for street photography extends well beyond his work. He takes an active role in the street photography community, moderating an Instagram account that is dedicated to showcasing global street photography talent. My Modern Met had the opportunity to ask Pieters more about his passion for photography and what inspires him about New York City. Read on for our exclusive interview.

To support Pieters' work, follow him on Instagram or purchase a print in his online shop.

When did you develop a love for photography?

My love for photography started in high school with the introduction of Instagram. I quickly went from a phone to a DSLR and sharpened my skillset along the way.

What is it specifically about street photography that speaks to you as a creative?

I try my best to keep my photography as authentic as possible. The majority of my creativity is displayed through color grading. I spend more time imagining and composing my shots as it means less work for me in post-production.

How does the city of New York influence your work?

New York City is quite gritty and abrasive in some areas and quite soft and eerie in others. I try to ensure my images match the area that they were taken in. I don't want to misrepresent the areas as they are all different from each other while respectively representing diverse groups of people.

What's your process when you head about to take photos? Do you have a set itinerary or work spontaneously?

I only shoot on the street during my free time. I try my best to make the most of the gaps that I find in between my time with clients. This often leads to me shooting in new neighborhoods with unusual focal lengths.

What mood do you try to evoke in your work?

The season and immediate weather usually set the mood for my work. I exacerbate this through color and shutter speed. For example, I prefer to shoot at higher shutter speeds and lower apertures in inclement conditions to better capture the weather effects and to have a more shallow depth of field. In other examples, I convey colder seasons with tones that are bluer than usual while I may use more gold/orange tones to convey seasons of warmth.

The street photography community is fairly tight-knit, and you help moderate a street photography Instagram account. What do you most enjoy about being part of this community?

I make it a point to promote up-and-coming street photographers. I find that new photographers often get discouraged when they feel like they're going unnoticed, so I try to ensure that doesn't happen.

What do you hope people take away from your work?

Documenting the times and people are most important to me. I hope to accurately capture these eras and show how different areas are changing with time before the opportunity passes. Too much history is being erased with each new development, so this is a means of preserving it.

Lerone Pieters: Website | Instagram | Behance 

My Modern Met granted permission to feature photos by Lerone Pieters.

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“A Great Day in Brooklyn,” 2008.

Photography has been a part of Jamel Shabazz‘s life since he was a teenager, and over time, this has led him to amass a dazzling collection of imagery. From early portraits of his junior high school classmates to his iconic street photography that crystalized the origins of hip-hop in New York, Shabazz has always used photography to immortalize his life. Now, an exhibition at the Bronx Documentary Center displays 50 years of those moments.

Seconds of My Life: Photographs from 1975-2025 is both a visual diary of Shabazz's life and a window into Black America across five decades. From street fashion to family bonds to the criminal justice system, Shabazz has documented it all. Seeing such a wide range of work in one place, one realizes how his storytelling abilities have only sharpened over time. His knack for capturing the moment, even with complete strangers, and creating engaging imagery has never waned.

“Photography has been my passport to meeting people, learning their stories, and sharing them with the world,” he shares.

Whether using his mom's Kodak Instamatic 126 camera to take pictures of friends or immortalizing a celebrity like Alicia Keys, Shabazz has always excelled at capturing powerful stories of identity, resilience, and community. Taken without judgment, his imagery gives equal treatment to people from all walks of life.

For Shabazz, the hope is that the exhibition will serve as inspiration for new generations, encouraging them to document their own lives just as he did. “What I want young people to see is the importance of photography and documentation… It's vital to record our legacy,” he said in an interview about the show.

Seconds of My Life: Photographs from 1975-2025 is on view until April 20, 2025.

Jamel Shabazz is known for his incredible documentary photography taken across five decades.

“A Time of Innocence,” Red Hook, Brooklyn, 1980.

“Untitled,” NYC, 1997.

“The X-Men,” NYC, 1985.

From street fashion to family bonds to the criminal justice system, Shabazz has documented it all.

“Best Friends,” Brooklyn, 1982.

“Holding On,” Savannah, GA, 1995.

“Church Ladies,” NYC, 2024.

Rickers Island, 1985

Seconds of My Life: Photographs from 1975-2025 is both a visual diary of Shabazz's life and a window into Black America.

“Black in America,” Crown Heights, Brooklyn, 2010.

“Waiting,” Brownville, 2010

“Alicia Keys,” NYC, 2018.

“Hope for a Better Tomorrow,” Coney Island, 2014.

Exhibition Information:
Jamel Shabazz
Seconds of My Life: Photographs from 1975-2025
February 28, 2025–April 20, 2025
Bronx Documentary Center Annex
364 151st St., Bronx, NY 10455

Jamel Shabazz: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Jamel Shabazz.

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READ: 50 Years of Jamel Shabazz’s Documentary Photography on Display in the Bronx

Photographer Alvin Kean Wong’s Roller Zoku series can trace its roots all the way back to 1955. That year, rockabilly music touched down in Japan with a cover of Bill Haley and His Comets’s Rock Around the Clock by Japanese artist Chiemi Eri. Eri’s cover not only topped the charts but also popularized the rockabilly sound and aesthetic throughout the country, inspiring everything from motorcycle gangs (kaminari zoku) to the iconic greased-back hair paired with a leather jacket.

Rockabilly subculture has long fascinated Wong, who was raised in Singapore and is now based in New York. By 2019, the photographer sought out Japan’s contemporary rockabillies, immersing himself within and capturing the subculture for five years.

The resulting black-and-white photographs teem with energy, depicting rockabillies sporting sleek jackets and pointed shoes, dancing across slick sidewalks, and, with a striking mixture of defiance and intimacy, meeting the camera’s gaze. No matter their subject, each composition is an indistinguishable ode to a subculture that, according to Wong, once dominated Japan in far greater numbers.

Though smaller, this dynamic community nevertheless remains as vibrant and as rebellious as it did decades ago. It’s this fact that Wong has strived to portray throughout Roller Zoku, a motivation that has only deepened since meeting Johnny Diago, the most prominent figure within Japan’s rockabilly scene. Over the years, Wong has traveled with Diago’s band across the United States and Canada, memorializing their “camaraderie, freedom, and raw passion,” according to Wong’s artist statement.

This past February, the series was showcased at Cafe Studio in New York City during a special weekend exhibition titled Roller Zoku: A Photographic Journey Into Tokyo’s Rock-and-Roll Tribe. Wong’s photographs wrapped around the Soho gallery space, offering a seamless connection to the surrounding neighborhood and its history as a district for subcultural fashion and expression.

“Japanese rockabillies really are the coolest because there’s still a misconception in many Western societies that Asians don’t have an edge,” Wong explains. “It’s always inspiring how individuals that go against the grain and embrace their greatness to be different give us courage to follow our hearts.”

My Modern Met had the chance to speak with Alvin Kean Wong about Roller Zoku, his photographic inspirations, and his recent exhibition at Cafe Studio. Read on for our exclusive interview with the photographer.

What drew you to photography as your preferred medium, and how did you develop your personal style?

I was first fascinated with the mechanics of the camera. I remember playing with my father's camera when I was about six years old, and I jammed the shutter and had to take it apart to fix it before I got into trouble. Upon taking it apart, I was so intrigued by the thousands of small parts in the camera, each working to make a photo. It was pure magic to me.

Photography has always been my preferred medium, and it is still magical to me. The unplanned moments, the unexpected moments, the imperfections are often the best. I use photography as a pen to write stories.

I also don’t think in style since I try to take pictures that are simply interesting. Others told me my style is documentary. I would think I have developed this style through making many mistakes and just taking a lot of photos.

I used to be a gear head, however it didn’t have any style as I was just studying and copying what others were doing. I didn’t like my photos then—I think they’re unremarkable. Some years back, I had the opportunity to work on many projects, traveling alone and with little to no equipment and almost no time for preparation. I learned to trust the camera, see lighting, and connect and share real moments with people that were rare and fleeting.

Every shoot is unique in that way, and every time is fresh and special. I always regard any opportunity as my last, so I try to be as present as possible for my sitter instead of geeking out on every little other aspect that isn’t necessary. Overall, I think a good photo is a moment that I can’t recreate.

How would you describe Japanese rockabillies to those who are unfamiliar with the scene, and when did you first encounter them?

The Japanese rockabilly is one of the most interesting cultures I have encountered to date. It’s not common to see them, and even Japanese people have limited information about them. Unless you’re in this subculture, it’s not easy to gain access.

Japanese rockabillies are a group of rock-and-roll enthusiasts trying to keep rock-and-roll alive.  It started in the '50s when Japanese performers were learning and performing for the American GIs stationed in Japan. Since then, it’s been through many ups and downs. Sadly, contrary to what we see trending on social media, there are fewer people interested in this culture currently. In the '80s and '90s, there used to be thousands of rockabilly gatherings in Yoyogi Park and Harajuku on Sundays. Today, on a good Sunday, you’ll get a handful of them. There are also fewer people interested in rock-and-roll.

My first personal encounter with Japanese rockabillies was in 2019, but I’ve always known them since growing up in the '90s. Even then, in all my years traveling to Japan, I never took it upon myself to explicitly seek them out until 2019.

What compels you about this specific subculture, and why did it feel important to document it?

Japanese rockabillies are really the coolest because there’s still a misconception in many Western societies that Asians don’t have an edge. In the end, we are all humans, and we are all attracted to different things regardless of color.

This project is important for me as I love showing the character of just one of the many cool cultures in Asia, which I actually realized while working on this project. It wasn’t planned this way, but it just happened as I got more involved in this culture.

It’s always inspiring how individuals that go against the grain and embrace their greatness to be different give us courage to follow our hearts. Plus, they’re one of the coolest groups of people I have met, and I hope that, through my work, I can support and keep this culture alive.

What was the process of photographing the images included in Roller Zoku, and what was it like to work with these rockabillies?

Rock-and-roll always has an image of recklessness and irresponsibility. However, Japanese rockabillies are the most loyal, disciplined, and trustworthy people I have met. If a Roller has given you their word, they will definitely honor it. We call this Samurai rock-and-roll.

There is honor and pride in this subculture. Of course, they have attitudes because it’s still rock-and-roll, so never disrespect them, their tribe, or country. You get respect when you give respect.

Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.

Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.

What are some of your favorite aspects of Japanese rockabillies?

Their cool style, the nostalgia, the music, the denim, the leather, the vintage motorcycles and cars, and the camaraderie. It is a world I can live in.

Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.

What do you hope people will take away from Roller Zoku?

I hope that people will go out to do new things, meet people, be around people, and experience life. With all the amazing information and connection we are given from social media and the web, we should seek out adventures.

I’ve learned so much from doing this project, and even after the exhibition at Cafe Studio, I’m learning from people who have met the Roller Zoku. They shared their stories with the Rollers, their shared interest in music, fashion, cars, motorcycles, tattoos… I feel blessed to meet all these magical people.

Exhibition view from “Roller Zoku” at Cafe Studio, New York, NY.

Do you have any exciting projects coming up in the near future?

Honestly, the thing I would love is to go back to Japan and spend some time building on the Roller Zoku project. What I have shown at the Roller Zoku exhibition at Cafe Studio is just scratching the surface.

There’s so much more to this subculture that I would like to explore in and outside of Tokyo. Hopefully, we can get some patrons of arts or book publishers or even other commercial clients for a potential collaboration so we can keep this project going and share more of this subculture.

Alvin Kean Wong: Website | Instagram
Cafe Studio: Website | Instagram

Interview has been edited for length and clarity. My Modern Met granted permission to feature photos by Alvin Kean Wong and Cafe Studio.

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Photo: ©️ Tariq Zaidi
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To most of the world, North Korea remains a mystery. And much of what we do know about the country is tied up in politics. That is why the few glimpses we get of life in North Korea are so important. They help humanize an often misunderstood culture, even if what we see is tightly regulated.

When photographer Tariq Zaidi took his first trip to North Korea in 2017, he was one of just 5,000 non-Chinese tourists allowed to enter the country that year. Led along a carefully choreographed itinerary in the company of two North Korean handlers, Zaidi was given a carefully curated glimpse of the country. While this didn't allow for spontaneous moments, it certainly gave Zaidi the opportunity to see many different aspects of North Korea.

In his new book, North Korea: The People's Paradise, he's sharing his images with the world and, in doing so, helping us gain rare insight into a world most of us will never see for ourselves. We had the opportunity to speak with Zaidi about his time in North Korea and get his thoughts on his unique experience. Read on for My Modern Met's exclusive interview and keep up with Zaidi's work on Instagram, Facebook, and his website.

Photo: ©️ Tariq Zaidi

What first inspired you to travel to North Korea?

On my first trip in 2017, my original plan was to dive into the vibrant atmosphere of the annual beer festival, an event where foreigners and locals mingle “freely” and capture moments through the lens of a camera without hesitation. But fate had other plans that year—the beer festival was indefinitely postponed, leaving me with a tightly guided tour of the country. While it wasn't what I had initially envisioned, the guided tour offered its own insights and surprises. With each step, I discovered hidden gems and cultural treasures that I might have overlooked in the bustling excitement of the festival. Though I missed the spontaneous interactions of the beer fest, I embraced the structured journey, immersing myself in the rich tapestry of the country's history and traditions.

In my book, I use candid photography to explore the ordinary in this extraordinary state—everyday lives explored through a lens, illuminating the complex dynamics of people navigating their own paths within their country while the country does the same globally.

Inviting readers to delve beyond the headlines, North Korea: The People's Paradise sheds light on people’s experiences and reveals the diverse tapestry of the country’s people and culture, challenging our preconceived notions about North Korea. Throughout this book, photography illustrates the hidden stories and realities that lie within its borders and the curtain of secrecy that dominates the narrative surrounding the country.

Photo: ©️ Tariq Zaidi

What surprised you the most about what you saw in the country?

North Korea reminded me of the DDR (East Germany with the Berlin Wall intact), Cuba, Vietnam, and China about 20 years ago. I’d say it’s a mix between these and some Central Asian countries I have visited in recent years, but more orderly and cleaner. It’s all relative, though—there were considerable differences in the rural versus urban contexts in North Korea in terms of aesthetics, people, and lifestyles.

From your perspective, how isolated is life in North Korea?

The only real links are to Mainland China and Russia. Visiting North Korea is a rare privilege afforded to only a few individuals globally. The country attracts around 5,000 non-Chinese tourists annually; those fortunate enough to visit are met with strict rules and regulations, including the control of photography.

Photo: ©️ Tariq Zaidi

Given the notorious restrictions placed on photographers who visit, were you worried about what you would be able to photograph?

For the past four years, since January 2020, North Korea has been inaccessible to all visitors, including North Koreans residing outside the country. Before this closure, access (for most nationalities) was possible through various agencies in China or Russia, involving a process of applying for permission/visas. During my visits, I was always accompanied by two North Korean minders. This applies whether traveling alone or in a group. They regularly scrutinized my photographs and occasionally requested deletions. The places, routes, and destinations were all predetermined and could not be altered once set.

What was it like to work there?

North Korea had several logistical and physical restrictions, but I never felt unsafe, nor was I met with hostility. I’m pretty used to working in challenging or inflexible environments. Some projects I’ve worked on in the past have had significant safety restrictions because the subject has been dangerous, politically volatile, or violent; others have had transport and mobility limitations where getting around the country and visiting points of interest has been impossible simply because of lack of infrastructure. Rules are there regardless of where I work; it's just the kind of restrictions that differ.

Photo: ©️ Tariq Zaidi

How did people in North Korea react to you photographing them?

Children were generally OK with me taking pictures, and adults allowed me to take photos after a few minutes of politely asking, although it did depend on where we were. In the metro, for instance, when I pointed my camera at people, they all shyly put their heads down to avoid being photographed. I’m unsure if that was due to cultural differences, shyness, or the lack of camera culture.

Like anywhere else in the world, I photographed those willing to be photographed and respected those who were not.

Photo: ©️ Tariq Zaidi

Is there any particular photo you took and were made to delete that you regret having to get rid of?

I had taken many pictures at an amusement park in Pyongyang at night, which were deleted. It was a very surreal environment to photograph, given the political situation in 2017, and I wish I had been allowed to keep those. The guides didn’t mind me taking photos of groups of people going about their daily lives, but individual portraits I had taken were deleted. It’s hard to say what else I could have photographed because of how curated my first trip was—I didn’t have the chance to explore on my own and find stories.

Photo: ©️ Tariq Zaidi

What was the most memorable part of your time in North Korea?

During my photography sessions, the North Korean guides played a crucial role in shaping the subjects I could capture through my camera lens. They primarily guided me on what issues were allowed and what was prohibited. At the end of each day, they evaluated the photos taken and advised which ones should be discarded, emphasizing the importance of retaining high-quality images. Their insistence on achieving “good photos” amused me, prompting me to pledge improvement in my photography.

The guides frequently requested to view my images, leading to the immediate deletion of those they deemed unacceptable, regardless of their relation to the military. In response to my query about why non-military images were discarded, they explained their focus was on capturing exceptional visuals, encouraging a pursuit of photographic excellence.

The NK guides significantly influenced the scope of my photography, prohibiting images related to the military, consistent with global norms. They also discouraged photographing individuals alone but allowed group shots. Photography involved rapid shifts between locations, allowing little time for shooting.

Many images were taken in motion, capturing street scenes from moving vehicles. Conversely, authorized locations like the Science Center and official monuments were photographed with guide accompaniment.

Photo: ©️ Tariq Zaidi

How did the book project come about, and how was the selection process for the images in the book?

As with most of my previous books, such as Sapeurs: Ladies and Gentlemen of the Congo and Sin Salida (No Way Out), my process begins with a developing interest in a subject. This curiosity prompts me to explore it further through research and reading, often followed by multiple trips to the location over several years. After each trip, I present my findings to various editors to identify areas that need further investigation or development.

Once I feel the work is complete, I collaborate with a designer to create a book dummy. This involves selecting and sequencing images, crafting a narrative, and ensuring the format is suitable for a book. The dummy is then presented to potential publishers.

The final stages involve working closely with both the designer and the publisher to finalize the selection and arrangement of images. This process includes numerous iterations and discussions about the final images for the book, the format they will be presented in, and their sequence in the book. For my North Korea book, I collaborated with designer Stuart Smith and publisher Kehrer Verlag, who also published my first book on the Sapeurs: Ladies and Gentlemen of the Congo.

Between photographing, editing, researching, and writing, the entire project took over three years to complete.

Photo: ©️ Tariq Zaidi

What do you hope that people take away from these photos?

Many of my photographic projects deal with underreported communities and places. North Korea has intrigued me for years because of how little we know about it—except from mainstream media. I wanted to use photography to offer a glimpse at everyday lives in North Korea, documenting people, and culture as far as possible, given the limitations and restrictions of photography within North Korea. Beyond the militarism, authoritarianism, and control that have become associated with the country, people are going about their lives. This book seeks to present their realities (culture as far as possible, given the limitations and restrictions of photography within North Korea) to the rest of the world.

Through my practice, I endeavored to document what I witnessed, was shown, heard, and felt to the best of my abilities throughout my time in North Korea. Given the limitations of operating in North Korea, my goal is to provide readers with a comprehensive and immersive experience. Forming one's perspectives now falls upon those who engage with my work.

North Korea: The People's Paradise by Tariq Zaidi is now available for purchase.

Tariq Zaidi: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Tariq Zaidi.

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Willy Covary, from Gentlemen of Bacongo, 2008.
Willy Covary, in his dashing pink suit, red bowler hat, tie, and shoes, is walking down the streets of Brazzaville, Congo.

An exhibition in Milan peels back the layers of Daniele Tamagni‘s incredible photography. The Italian photographer, who died in 2017 at age 42 after battling a long illness, is heralded for his work celebrating street style across Africa. His work combines street photography, photojournalism, and fashion photography in a way that is uniquely his.

Ninety of his images are now on show at Milan's Palazzo Morando until April 1. Daniel Tamagni Style is Life is the first retrospective dedicated to the award-winning photographer's work. The show encompasses seven years of his photography and brings us on a journey across the globe. From action-packed images of Bolivia's “flying cholitas” to incredible portraits of the Sapeurs of Congo, who use dapper fashion as a form of social resistance, Tamagni's ability to infiltrate global subcultures is astonishing.

“In choosing countries and cities far outside the usual context of fashion, I not only wanted to offer an overview of the phenomenon of globalized style, but also record the resistance to and preservation of traditions,” Tamagni once shared.

“Daniele undertook a mission to show that Africa is diverse, housing many untold stories,” says co-curator Aïda Muluneh. “In my perspective, art revolves around conveying our personal truths. He deliberately focused on individuals at society’s edges, those challenging norms, prioritizing self-affirmation over societal endorsement—trailblazers of their unique journeys.”

The exhibition and accompanying photobook are a wonderful way to honor Tamagni's legacy and bring his photography to a wider audience. As we travel with him to heavy metal festivals in Botswana or learn about the female fashion designers in Dakar who are elevating Senegalese fashion, we also understand a bit more about his passion for life and his unending quest to discover more about the diverse people who make our planet unique.

A retrospective exhibition in Milan celebrates the work of photographer Daniele Tamagni.

Portrait of a Sapeur wearing hot pink sunglasses and matching tie, holding a pipe in his mouth. Brazzaville, Congo (2008)

Dixy in London, from Gentlemen of Bacongo, 2009.

Tembisa Revolution #2, from Joburg Style Battles, 2014.

Tamagni traveled the world to photograph subcultures, with particular attention to street style.

The Playboys of Bacongo, from Gentlemen of Bacongo, 2008.

Carmen Rosa flying, from The Flying Cholitas, 2010.

Dignified Queen and Katy, from Afrometals, 2012.

Untitled, from Afrometals, 2012.

Though Tamagni passed away in 2017, the influence of his work can still be felt.

Model at Dakar Fashion Week, 2011.

Portrait of a member of the Piccadilly Group wearing a bowtie and an eye patch. Brazzaville, Congo (2008)

Izis Boys, from Joburg Style Battles, 2014.

Daniele Tamagni Style is Life is on view at Palazzo Morando in Milan until April 1, 2024.

Smarteez #2, from Joburg Style Battles, 2014.

Boy with kite, Cuba, 2005.

Daniele Tamagni Foundation: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by the Daniele Tamagni Foundation.

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