019: From Atlanta to Italy

From Atlanta to Italy

I’ve been sitting on these images for a while. Not because I didn’t like them, but because I needed time to see them clearly.

In 2022, I traveled through Italy, moving from Venice to Florence, then up to Lake Como, across to Lake Garda, and finally ending the trip in Oslo. I carried three cameras the whole way—my Leica M5, a point and shoot, Mamiya C330—fully mechanical, fully manual, forcing me to slow down and really look at what was in front of me.

Most of the time, I shoot black and white, Kodak Tri-X 400, but this time, I let color in. Portra 800, Kodak Gold 200—both in 35mm and 120 film. I wanted to see what Italy felt like, not just in shadows and light, but in the warmth of its streets, the way the sun hits those old buildings, the deep greens and blues of the water.

This was a different way of seeing.

Venice doesn’t sit still. It moves with the water, and you move with it.

No cars. No honking horns. Just boats and the sound of footsteps on stone. The first thing I noticed was the light—soft, bouncing off the canals, filtering through alleys, reflecting on faces. It’s a place that almost feels like it shouldn’t exist, but somehow, it does.

I reached for Tri-X 400 here. Black and white felt right for a place this timeless. I wanted to strip everything down to light and texture—to the ripples in the canal, the worn-down steps leading into the water, the people weaving through the city like it’s second nature.

But Venice at dusk? That’s when Portra 800 came in. The deep blues, the warm glow of lanterns flickering off the water—some moments just needed color.

Florence felt different. More grounded, more permanent. The city moves at its own pace, and I followed.

Walking through Florence is like walking through history. The statues, the cathedrals, the narrow streets that suddenly open into wide piazzas—it all feels intentional, like it was designed to be seen and remembered. The way the sunlight carves through the alleys made me reach for the Mamiya C330. Medium format forces you to slow down, to take in a place fully before pressing the shutter.

I shot a mix here. Tri-X 400 for the contrast, for the way it makes everything feel classic, almost eternal. But when the late afternoon sun hit, I loaded Kodak Gold 200. Florence is warm—not just in temperature, but in color, in feel. Gold 200 pulled out those rich, earthy tones, the warm stone, the soft light bouncing off centuries-old buildings.

Lake Como feels like something out of a film. The kind of place where time slows down, where you just sit back and watch the water shift with the wind.

The drive up was an experience in itself—winding roads, sudden views that made me want to pull over every five minutes. I did, a few times. You don’t rush through a place like this.

Como is where I leaned into Kodak Gold 200. The soft pastels of the buildings, the way the lake held onto the last light of the day—black and white wouldn’t have done it justice. But the streets, the old men sitting outside cafés, the boats docked in quiet harbors? That’s where Tri-X 400 gave me exactly what I needed.

Where Como felt cinematic, Garda felt wide open. More space, more air, more movement.

Here, I found myself going back to Tri-X 400. Something about the contrast, the way it let me focus on shapes and shadows. Lake Garda was alive—windsurfers flying across the water, cyclists cutting through the mountain roads, kids laughing as they ran along the shore.

But there were quiet moments too—the ones where the lake stretched out endlessly, where the sky met the water in a way that made everything feel small. Those are the images that stuck with me.

Oslo wasn’t supposed to be part of the trip, but somehow, it made sense.

After Italy’s warmth, Oslo was crisp. Clean lines, muted tones, a completely different rhythm. I didn’t shoot as much here, but the few frames I did capture? They felt like a reset. A shift before heading home.

This trip made me see differently.

I’m still black and white at heart—Tri-X 400 is always going to be my foundation. But this time, I let color be part of the story. I let Portra 800 and Kodak Gold 200 pull out the richness of the streets, the glow of the water, the warmth of the places I walked through.

This is just a glimpse. You can see the full gallery here: Italy 2022 - Full Gallery.

Let me know—have you been to Italy? What city left the biggest impression on you? Drop a comment, let’s talk.

013: Portraits in 2025: More intimate Storytelling

Portraits in 2025: More intimate Storytelling

For a while now, I’ve been locked into a rhythm, documenting the streets, chasing moments, and letting my Leica M5 and Kodak Tri-X do what they do best. But one thing about me? I refuse to be boxed in. This year, I’m stepping back into portraiture, not just as an addition to my work but as a necessary evolution.

Returning to Portraits with Intention

Portraiture has always been part of my photography DNA. Whether it’s commercial assignments, editorial work, or personal projects, the ability to craft an image, not just capture one, is something I’ve always valued. But somewhere along the way, I got so deep into the streets that I stepped away from controlled light, from directing subjects, from the kind of work that allows me to slow down and build an image from scratch.

That changes now.

2025 is the year I fully lean back into portraits, not just for myself but for brands, creatives, and anyone who wants a portrait that actually says something. The kind of portrait that feels like a conversation, where the light tells its own story, where depth and shadow aren’t just aesthetic choices but essential parts of the narrative.

Studio & Environmental Portraits

This time around, I’m making portraits wherever they need to happen, in the studio, in people’s homes, outdoors, or anywhere that adds to the story of the image. A controlled studio setup allows me to sculpt light exactly how I want it, while an environmental portrait adds layers of context, history, and mood. The location is just as important as the person in front of the camera, and I want to use both to create something real.

The Mamiya RZ67 & A Film-First Approach

I’m taking a film-first approach to portrait work, primarily using the Mamiya RZ67 with Kodak Tri-X 400 for its depth, detail, and timeless feel. Medium format film changes the way I work, it forces me to slow down, to compose with intention, to make every frame count.

I’ll be mixing in some color as well, choosing film stocks that match the subject, the environment, and the overall mood of each session. But black and white? That’s the foundation. That’s where the soul of my portrait work lives.

Mastering Light—Starting with Myself

To step back into portrait work the right way, I’ve been pushing myself in the best way I know how: self-portraits.

If I can light myself in a way that’s dynamic, intentional, and fresh, then I know I can apply that same energy to my clients. I’ve been experimenting with different setups, mixing continuous light with strobes, testing soft modifiers against harder light, figuring out how light plays differently on film than digital. The goal? To walk into any portrait session knowing I can deliver something fresh, no matter the setting.

Booking Portrait Sessions Now

So if you need a portrait that’s more than just a headshot, if you want something that feels cinematic, layered, and deeply considered, now is the time. Whether in the studio, in your home, or out in a space that reflects who you are, I’m here to create something intentional.

Check out my portrait work here: Stan Johnson Portraits

And if you're ready to make something great together, let’s talk.