man in snow storm hmv


Stephen Leslie is currently in the midst of a crowdfunding campaign to fund his new photobook, which he personally introduce here to us.

“The book is called MOSTLY FLASE REPORTS and it is a follow up to my first book, SPARKS which was published in 2018. Like that book, this new one is a combination of original candid street photography and short stories that I have written inspired by the images.

My day job is a screenwriter for film and TV so I’m always looking for inspiration and I tend to gravitate towards scenes that ask questions or contain some interesting narrative potential.

I hope that the photographs work on their own but that the stories then take them off and away in unusual and interesting directions.

The challenge is to avoid being obvious and instead find unexpected responses that enrich and enhance the images.”

You can support the crowdfunding campaign HERE

And finally Stephen gives us a short story related to the image below:

man with child on his back

I am very forgetful. I think this might be one of the reasons why I take so many photographs, they act like a visual diary, providing me with reminders of my life and the things I’ve spotted along the way.

It often takes me several attempts to leave the house. I’ll get to the door or even out of the door and halfway down the road before I realise that I’ve forgotten something; a spare battery or film for the camera, my phone, the shopping list, my trousers. Any combination of the above.

I’m constantly having to go back, searching for what I’ve forgotten and then leaving again. But what does this mean photographically? Is my tardiness a hindrance? Or is it actually helping me out? If I’d left earlier or on time, would the things I see be better or worse? Or just different?

I am not the sort of photographer who hangs around, ‘fishers’ I think they’re called? I like to walk and just see what turns up but, if I’m always late, then how does that impact upon what I witness?

This thing I saw that day while walking down Oxford Street, it couldn’t have lasted more than ten or twenty seconds at most. The girl sitting up on her father’s or grandfather’s shoulders just suddenly limboed backwards and I took this shot but what if I’d remembered my phone that morning? Then I wouldn’t have been late, I might have got in to town sooner. I would have been ahead of myself.

Maybe I would have been in front of them and not behind?
The girl would have fallen backwards and, most likely, I would never have known.
I would not even have got the reverse angle of this,
of a man just holding on to a pair of feet hooked over his shoulders.
As if he had come out for the day
and forgotten to bring the whole child.

Stephen Leslie links :

If you like this content please support the author + Woofermagazine and share it :
blue sky, green grass, a red trailer


Throughout her life, Catherine DeLattre has studied archaeology, worked for Magnum, done still photography on film sets like “Once Upon a Time in America” and taken many photos in Pennsylvania.

girl on a balcony in front of the sea with a vertical billboard of Hotel in red


Alfredo Oliva Delgado shares with us the emotions he has experienced in some of the hotel rooms he has visited

silhouette of a man painted white in an urban landscape with an open book lying on the ground


Francisco Uceda guides us through Redhook, a neighborhood in New York City undergoing gentrification, where people are drawn silhouettes.

logo woofermagazine