Moises Saman

Moises Saman is widely considered to be one of the leading documentary and conflict photographers of his generation and has been a full member of Magnum Photos since 2014. His work has largely focused on the wars in Iraq and Afghanistan, and the Arab Spring and its aftermath.Moises was born in Lima, Peru, from a mixed Spanish and Peruvian family and grew up in Barcelona, Spain. He studied Communications and Sociology in the United States at California State University, graduating in 1998. It was during his last year in university that Moises first became interested in becoming a photographer, influenced by the work of a number of photojournalists that had been covering the wars in the Balkans.After graduating, Moises moved to New York City to complete a summer internship at New York Newsday and joined as a Staff Photographer, a position he held until 2007. During his 7 years at Newsday Moises' work focused on covering the fallout of the 9/11 attacks, spending most of his time traveling between Afghanistan, Iraq, and other Middle Eastern countries. In the Autumn of 2007 Moises left Newsday to become a freelance photographer represented by Panos Pictures. During that time he become a regular contributor for The New York Times, Human Rights Watch, Newsweek, and TIME Magazine, among other international publications.Over the years Moises' work has received awards from the World Press Photo, Pictures of the Year and the Overseas Press Club and his photographs have been shown in a several exhibitions worldwide. In 2015 Moises received a Guggenheim Fellowship to continue his work.In 2011, Moises relocated to Cairo, Egypt, where he was based for three years while covering the Arab Spring for The New York Times and other publications, mainly The New Yorker. His first book, Discordia, on which he colloaborated with artist Daria Birang, documents the tumultuous transitions that have taken place in the region. The work featured in Discordia has received numerous awards, including the Eugene Smith Memorial Fund.Moises’s latest book, Glad Tidings of Benevolence, was published earlier this year by GOST books to coincide with the twentieth anniversary of the US-led invasion of Iraq. It brings together Moises’s photographs taken in Iraq during this period and the following years, with documents and texts relating to the war. Exploring the construction—through image and language—of competing narratives of the war, the book represents the culmination of Moises’s twenty years of work across Iraq.Moises currently lives in Amman, Jordan with his wife and their young daughter. In episode 210, Moises discusses, among other things:The catalyst that was 9/11NewsdayHis introduction to photography via his studie in sociologyThe Balkans conflictLearning the ropes in AfghanistanHow his attitude towards photojournalism evolved over timeThe impact of spending eight days in Abu Ghraib prisonSurviving a helicopter crashThe myth of objectivityTrying to show a more nuanced pictureEvery day life continuing amidst war“The framing of the frame”Covering The Arab SpringCollaborating with artist Daria Birang on DiscordiaFacts, truth and questioningVictim vs. perpetratorHis current project in Amman Referenced:Judith ButlerStuart SmithDaria Birang “One thing I’ve realised is, at least for me, that perhaps this other approach to the work, the one that’s a little bit quieter and more nuanced, more human really, where you’re also celebrating humanity rather than the lack thereof in this very difficult context, that perhaps is a little more effective. I like to think that.

Moises Saman is widely considered to be one of the leading documentary and conflict photographers of his generation and has been a full member of Magnum Photos since 2014. His work has largely focused on the wars in Iraq and Afghanistan, and the Arab Spring and its aftermath.Moises was born in Lima, Peru, from a mixed Spanish and Peruvian family and grew up in Barcelona, Spain. He studied Communications and Sociology in the United States at California State University, graduating in 1998. It was during his last year in university that Moises first became interested in becoming a photographer, influenced by the work of a number of photojournalists that had been covering the wars in the Balkans.After graduating, Moises moved to New York City to complete a summer internship at New York <a href="https://www.newsday.com/" rel="nofollow" target="_blank">Newsday</a> and joined as a Staff Photographer, a position he held until 2007. During his 7 years at Newsday Moises' work focused on covering the fallout of the 9/11 attacks, spending most of his time traveling between Afghanistan, Iraq, and other Middle Eastern countries. In the Autumn of 2007 Moises left Newsday to become a freelance photographer represented by <a href="https://www.panos.co.uk/" rel="nofollow" target="_blank">Panos Pictures</a>. During that time he become a regular contributor for The New York Times, Human Rights Watch, Newsweek, and TIME Magazine, among other international publications.Over the years Moises' work has received awards from the World Press Photo, Pictures of the Year and the Overseas Press Club and his photographs have been shown in a several exhibitions worldwide. In 2015 Moises received a Guggenheim Fellowship to continue his work.In 2011, Moises relocated to Cairo, Egypt, where he was based for three years while covering the Arab Spring for The New York Times and other publications, mainly The New Yorker. His first book, <a href="https://www.magnumphotos.com/newsroom/moises-saman-discordia/" rel="nofollow" target="_blank">Discordia</a>, on which he colloaborated with artist Daria Birang, documents the tumultuous transitions that have taken place in the region. The work featured in <a href="https://www.magnumphotos.com/newsroom/moises-saman-discordia/" rel="nofollow" target="_blank">Discordia</a> has received numerous awards, including the Eugene Smith Memorial Fund.Moises’s latest book, <a href="https://gostbooks.com/products/glad-tidings-of-benevolence" rel="nofollow" target="_blank">Glad Tidings of Benevolence</a>, was published earlier this year by GOST books to coincide with the twentieth anniversary of the US-led invasion of Iraq. It brings together Moises’s photographs taken in Iraq during this period and the following years, with documents and texts relating to the war. Exploring the construction—through image and language—of competing narratives of the war, the book represents the culmination of Moises’s twenty years of work across Iraq.Moises currently lives in Amman, Jordan with his wife and their young daughter. In episode 210, Moises discusses, among other things:<ul><li>The catalyst that was 9/11</li><li>Newsday</li><li>His introduction to photography via his studie in sociology</li><li>The Balkans conflict</li><li>Learning the ropes in Afghanistan</li><li>How his attitude towards photojournalism evolved over time</li><li>The impact of spending eight days in <a href="https://en.wikipedia.org/wiki/Abu_Ghraib_prison" rel="nofollow" target="_blank">Abu Ghraib</a> prison</li><li>Surviving a helicopter crash</li><li>The myth of objectivity</li><li>Trying to show a more nuanced picture</li><li>Every day life continuing amidst war</li><li>“The framing of the frame”</li><li>Covering The Arab Spring</li><li>Collaborating with artist <a href="https://www.dariabirang.com/" rel="nofollow" target="_blank">Daria Birang</a> on <a href="https://www.magnumphotos.com/newsroom/moises-saman-discordia/" rel="nofollow" target="_blank">Discordia</a></li><li>Facts, truth and questioning</li><li>Victim vs. perpetrator</li><li>His current project in Amman</li></ul> Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Judith_Butler" rel="nofollow" target="_blank">Judith Butler</a></li><li><a href="https://gostbooks.com/" rel="nofollow" target="_blank">Stuart Smith</a></li><li><a href="https://www.dariabirang.com/" rel="nofollow" target="_blank">Daria Birang</a></li></ul> <blockquote>“One thing I’ve realised is, at least for me, that perhaps this other approach to the work, the one that’s a little bit quieter and more nuanced, more human really, where you’re also celebrating humanity rather than the lack thereof in this very difficult context, that perhaps is a little more effective. I like to think that.</blockquote>

210 - Moises Saman

Trish Morrissey

Much of the work of Dublin-born Irish photographer Trish Morrissey is a study of the language of photography through still and moving images, using performance and wit as tools to investigate the boundaries of photographic meaning. Although most of Trish’s work features her as the protagonist, she does not consider the photographs to be self portraits per se, though they can be read that way. She uses humour as a tool to disarm the viewer, hoping it wil then evaporate, leaving a slow burning psychologically tense afterglow. Weaving fact and fiction, Trish plunges into the heart of such issues as family experiences and national identities, feminine and masculine roles, and relationships between strangers.Her work has been exhibited widely, including in the shows ‘Landscape, Portrait: Now and Then’ at the Hestercombe Gallery in 2021; ‘Who’s Looking at the family now?’ at the London Art Fair 2019 and in the solo show ‘Trish Morrissey: A certain slant of light’ at the Francesca Maffeo Gallery in 2018 and most recently in 2022 he exhibition Trish Morrissey, Autofictions; Twenty Years of Photography and Film, at Serlachius Museum Gustaf, Finland.Her work is in the permanent collection of The Museum of Fine Art, Houston, the Victoria and Albert Museum, London, The National Media Museum, Bradford and the Wilson Centre for Photography, London and was published in 2022 in the book Autofictions to coincide with the aforementioned exhibition in Finland.In episode 209, Trish discusses, among other things:Her recent retrospective and bookThe Front projectHer parents family albumReading pictures from body languageHer collaborative project with her daughterThe performative side of her practiceA Certain Slant of LightExploring the female experienceEarly lifeResidency in AustraliaWorking with videoReferenced:Andy GrundbergZed NelsonNicholas Nixon, Brown SistersKate BestMark HarriottHilary MantelDiane Arbus“Everything I’ve done, when I’ve looked back on it I’ve realised is actually trying things on. It’s kind of like a way of rehearsing for the future…”

Much of the work of Dublin-born Irish photographer Trish Morrissey is a study of the language of photography through still and moving images, using performance and wit as tools to investigate the boundaries of photographic meaning. Although most of Trish’s work features her as the protagonist, she does not consider the photographs to be self portraits per se, though they can be read that way. She uses humour as a tool to disarm the viewer, hoping it wil then evaporate, leaving a slow burning psychologically tense afterglow. Weaving fact and fiction, Trish plunges into the heart of such issues as family experiences and national identities, feminine and masculine roles, and relationships between strangers.Her work has been exhibited widely, including in the shows ‘Landscape, Portrait: Now and Then’ at the Hestercombe Gallery in 2021; ‘Who’s Looking at the family now?’ at the London Art Fair 2019 and in the solo show ‘Trish Morrissey: A certain slant of light’ at the Francesca Maffeo Gallery in 2018 and most recently in 2022 he exhibition Trish Morrissey, Autofictions; Twenty Years of Photography and Film, at Serlachius Museum Gustaf, Finland.Her work is in the permanent collection of The Museum of Fine Art, Houston, the Victoria and Albert Museum, London, The National Media Museum, Bradford and the Wilson Centre for Photography, London and was published in 2022 in the book Autofictions to coincide with the aforementioned exhibition in Finland.In episode 209, Trish discusses, among other things:<ul><li>Her recent retrospective and book</li><li>The <a href="https://www.trishmorrissey.com/works_pages/work-front/workpg-01.html" rel="nofollow" target="_blank">Front</a> project</li><li>Her parents family album</li><li>Reading pictures from body language</li><li>Her collaborative project with her daughter</li><li>The performative side of her practice</li><li><a href="https://www.trishmorrissey.com/works_pages/work-work-a-certain-slant/workpg-01.html" rel="nofollow" target="_blank">A Certain Slant of Light</a></li><li>Exploring the female experience</li><li>Early life</li><li>Residency in Australia</li><li>Working with video</li></ul>Referenced:<ul><li><a href="https://curatorsintl.org/about/collaborators/6794-andy-grundberg" rel="nofollow" target="_blank">Andy Grundberg</a></li><li>Zed Nelson</li><li><a href="https://www.theguardian.com/artanddesign/2014/nov/19/nicholas-nixon-40-years-brown-sisters-portraits-moma" rel="nofollow" target="_blank">Nicholas Nixon, Brown Sisters</a></li><li>Kate Best</li><li>Mark Harriott</li><li>Hilary Mantel</li><li>Diane Arbus</li></ul><blockquote>“Everything I’ve done, when I’ve looked back on it I’ve realised is actually trying things on. It’s kind of like a way of rehearsing for the future…”</blockquote>

209 - Trish Morrissey

Curran Hatleberg

Curran Hatleberg is an American photographer based in Baltimore, MD. He attended Yale University and graduated in 2010 with an MFA. Influenced by the American tradition of road photography, Curran’s process entails driving throughout the United States and interacting with various strangers in different locales. His work has been exhibited nationally and internationally, including shows at the Whitney Biennial, MASS MoCA, the International Center of Photography, Rencontres d’Arles, Higher Pictures and Fraenkel Gallery. He is the recipient of various grants, prizes and awards including a 2023 Guggenheim Fellowship. Curran’s work is held in  various museum collections, including the Whitney Museum of American Art, SF MoMA, and the Philadelphia Museum of Art. His work has been published frequently in periodicals such as Harpers, The New Yorker, The New York Times Magazine, Vice and The Paris Review. Lost Coast, his first monograph, was released by TBW Books in fall 2016. His second monograph, River's Dream, was published by TBW Books in 2022. Curran has taught photography at numerous institutions, including Yale University and Cooper Union.In episode 208, Curran discusses, among other things:Coming from a big familyHis background in paintingThe benefits of taking a break from education‘Stumbling’ into an MFA at YaleHis first book The Lost CoastHis process and saying yes to everythingBeing open and vulnerable to what might happenThe fascination with the USATrying to convey the ‘atmospheric intensity’ of Florida in SummerHow he decides where to stop and photographThe ‘origin story’ of lending his van and trailer to a strangerHis artist’s book, Double RainbowBeing guided by reading fictionReferenced:Peter MatthiessenGeorge Saunders“I hate this idea that’s so grounded in the myth of road photographers, or American photography, where it’s this fallacy about the singular genius of the person bending the world to their will. It just seems so absurd to me. Chance is everything. I’m constantly levelled by how little control I have when I’m working. I feel insignificant and almost powerless a lot of the time.”

Curran Hatleberg is an American photographer based in Baltimore, MD. He attended Yale University and graduated in 2010 with an MFA. Influenced by the American tradition of road photography, Curran’s process entails driving throughout the United States and interacting with various strangers in different locales. His work has been exhibited nationally and internationally, including shows at the Whitney Biennial, MASS MoCA, the International Center of Photography, Rencontres d’Arles, Higher Pictures and Fraenkel Gallery. He is the recipient of various grants, prizes and awards including a 2023 Guggenheim Fellowship. Curran’s work is held in  various museum collections, including the Whitney Museum of American Art, SF MoMA, and the Philadelphia Museum of Art. His work has been published frequently in periodicals such as Harpers, The New Yorker, The New York Times Magazine, Vice and The Paris Review. <a href="https://tbwbooks.com/collections/curran-hatleberg/products/lost-coast?variant=43078796300" rel="nofollow" target="_blank">Lost Coast</a>, his first monograph, was released by TBW Books in fall 2016. His second monograph, <a href="https://tbwbooks.com/collections/curran-hatleberg/products/rivers-dream" rel="nofollow" target="_blank">River's Dream</a>, was published by TBW Books in 2022. Curran has taught photography at numerous institutions, including Yale University and Cooper Union.In episode 208, Curran discusses, among other things:<ul><li>Coming from a big family</li><li>His background in painting</li><li>The benefits of taking a break from education</li><li>‘Stumbling’ into an MFA at Yale</li><li>His first book The Lost Coast</li><li>His process and saying yes to everything</li><li>Being open and vulnerable to what might happen</li><li>The fascination with the USA</li><li>Trying to convey the ‘atmospheric intensity’ of Florida in Summer</li><li>How he decides where to stop and photograph</li><li>The ‘origin story’ of lending his van and trailer to a stranger</li><li>His artist’s book, Double Rainbow</li><li>Being guided by reading fiction</li></ul>Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Peter_Matthiessen" rel="nofollow" target="_blank">Peter Matthiessen</a></li><li><a href="https://en.wikipedia.org/wiki/George_Saunders" rel="nofollow" target="_blank">George Saunders</a></li></ul><blockquote>“I hate this idea that’s so grounded in the myth of road photographers, or American photography, where it’s this fallacy about the singular genius of the person bending the world to their will. It just seems so absurd to me. Chance is everything. I’m constantly levelled by how little control I have when I’m working. I feel insignificant and almost powerless a lot of the time.”</blockquote>

208 - Curran Hatleberg

Bertrand Meunier

French photographer Bertrand Meunier has spent most of the past three decades quietly working either editorially or on personal long-term documentary projects both internationally and, in more recent years, at home in France. He worked extensively in Pakistan and Afghanistan among other places, primarily for Newsweek magazine, but much of his time has been spent in China documenting the tumultuous social and economic changes that the population has been faced with, focussing in particular on the economic decline of the large industrial cities, and the consequences for the people living in them. In 2001 he won the Leica Oskar Barnack prize for the work from China and in 2005 published a book, The Blood of China, When Silence Kills, in collaboration with Pierre Haski. In 2007, Bertrand won the annual Niépce prize.A more comprehensive and definitive collection of the work from China has just been published as a book by EXB Editions entitled Erased and a corresponding solo exhibition of the work is currently on show at theMusée Nicéphore Niépce, Chalon sur Saône until September 17th 2023 and will subsequently be shown at the museum of photography Charleroi, Belgium from 30 September 2023 to 28 January 2024.Bertrand is currently finalizing the editing of his documentary film shot in a French prison and entitled Conversations. And he has recently obtained a creation grant in Luxembourg to work on a new documentary film about an open psychiatry centre.Bertrand lives in Paris with his partner Juliette and is a member of the Tendance Fleue collective. In episode 207, Bertrand discusses, among other things:Photography as a languageHis previous life as a professional climberHow he began his longstanding relationship with ChinaCurrent book and exhibition: ErasedHis biggest achievement in ChinaMemoryHis project on his dad and familyBeing ‘lost’ trying to shoot in FranceThe importance of teaching people to read photoographsThe ‘reverse angle’His forthcoming documentary about prisoners: ConversationsHis work on psychiatric facility in LuxembourgApplying for grantsPassionReferenced:HCBThe Provoke collectiveFor a Language to Come (Kitarubeki kotoba no tame ni), by Takuma Nakahira Website“Photography is like rock climbing, yeah, you have to focus, but if you do it to make a living? It’s a bad way to make a living. You do it because it’s a passion. It’s your life.”

French photographer Bertrand Meunier has spent most of the past three decades quietly working either editorially or on personal long-term documentary projects both internationally and, in more recent years, at home in France. He worked extensively in Pakistan and Afghanistan among other places, primarily for Newsweek magazine, but much of his time has been spent in China documenting the tumultuous social and economic changes that the population has been faced with, focussing in particular on the economic decline of the large industrial cities, and the consequences for the people living in them. In 2001 he won the Leica Oskar Barnack prize for the work from China and in 2005 published a book, <a href="http://tendancefloue.net/bertrandmeunier/livres/?choix=3233" rel="nofollow" target="_blank">The Blood of China, When Silence Kills</a>, in collaboration with Pierre Haski. In 2007, Bertrand won the annual Niépce prize.A more comprehensive and definitive collection of the work from China has just been published as a book by EXB Editions entitled <a href="https://exb.fr/fr/le-catalogue/589-erased.html" rel="nofollow" target="_blank">Erased</a> and a corresponding solo exhibition of the work is currently on show at the<a href="https://www.museeniepce.com/index.php?/exposition/futures/Bertrand-Meunier-Erased" rel="nofollow" target="_blank">Musée Nicéphore Niépce</a>, Chalon sur Saône until September 17th 2023 and will subsequently be shown at the <a href="https://www.museephoto.be/en/PageAccueil-en.html" rel="nofollow" target="_blank">museum of photography Charleroi</a>, Belgium from 30 September 2023 to 28 January 2024.Bertrand is currently finalizing the editing of his documentary film shot in a French prison and entitled Conversations. And he has recently obtained a creation grant in Luxembourg to work on a new documentary film about an open psychiatry centre.Bertrand lives in Paris with his partner Juliette and is a member of the <a href="http://tendancefloue.net/en/photographers/" rel="nofollow" target="_blank">Tendance Fleue</a> collective. In episode 207, Bertrand discusses, among other things:<ul><li>Photography as a language</li><li>His previous life as a professional climber</li><li>How he began his longstanding relationship with China</li><li>Current book and exhibition: Erased</li><li>His biggest achievement in China</li><li>Memory</li><li>His project on his dad and family</li><li>Being ‘lost’ trying to shoot in France</li><li>The importance of teaching people to read photoographs</li><li>The ‘reverse angle’</li><li>His forthcoming documentary about prisoners: Conversations</li><li>His work on psychiatric facility in Luxembourg</li><li>Applying for grants</li><li>Passion</li></ul>Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Henri_Cartier-Bresson" rel="nofollow" target="_blank">HCB</a></li><li><a href="https://en.wikipedia.org/wiki/Provoke_(magazine)" rel="nofollow" target="_blank">The Provoke collective</a></li><li><a href="https://en.wikipedia.org/wiki/Takuma_Nakahira" rel="nofollow" target="_blank">For a Language to Come (Kitarubeki kotoba no tame ni), by Takuma Nakahira</a></li></ul> <a href="http://tendancefloue.net/bertrandmeunier/en/series/this-is-where-i-come-from/" rel="nofollow" target="_blank">Website</a><blockquote>“Photography is like rock climbing, yeah, you have to focus, but if you do it to make a living? It’s a bad way to make a living. You do it because it’s a passion. It’s your life.”</blockquote>

207 - Bertrand Meunier

Featuring:Brad ZellarChris CampbellBryan SchutmaatDena EberPradip MaldeJohnny AutryTania Franco KleinJustin HerfstTim CarpenterReed KlassTodd HidoWebsite | Instagram

Featuring:<ul><li><a href="https://en.wikipedia.org/wiki/Brad_Zellar" rel="nofollow" target="_blank">Brad Zellar</a></li><li>Chris Campbell</li><li><a href="https://www.bryanschutmaat.co/" rel="nofollow" target="_blank">Bryan Schutmaat</a></li><li><a href="https://www.denaeber.com/" rel="nofollow" target="_blank">Dena Eber</a></li><li><a href="https://pradipmalde.com/" rel="nofollow" target="_blank">Pradip Malde</a></li><li><a href="https://johnnyautry.com/" rel="nofollow" target="_blank">Johnny Autry</a></li><li><a href="https://www.taniafrancoklein.com/" rel="nofollow" target="_blank">Tania Franco Klein</a></li><li><a href="https://www.justinherfst.com/" rel="nofollow" target="_blank">Justin Herfst</a></li><li><a href="https://www.timcarpenterphotography.com/" rel="nofollow" target="_blank">Tim Carpenter</a></li><li><a href="https://reedklass.com/" rel="nofollow" target="_blank">Reed Klass</a></li><li><a href="http://www.toddhido.com/" rel="nofollow" target="_blank">Todd Hido</a></li></ul><a href="https://www.chicoreview.com/2023" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/chicoreview/" rel="nofollow" target="_blank">Instagram</a>

206 - Chico Review 2023 Special

Featuring:Martin Parr (Ep. 91 &amp; 197)Dr. Claire HymanTracy Marshall GrantChris Dorley Brown (Ep. 97)James HymanSimon Roberts (Ian Parry Photojournalsim Grant) (Ep. 43)Michael BensonJillian Edelstein (KIckstarter) (Ep. 87)Gideon Mendel (Ep. 40)Alex Schneiderman Website | Instagram

Featuring:<ul><li><a href="https://www.martinparr.com/" rel="nofollow" target="_blank">Martin Parr</a> (Ep. <a href="https://bensmithphoto.com/asmallvoice/martin-parr" rel="nofollow" target="_blank">91</a> &amp; <a href="https://bensmithphoto.com/asmallvoice/martin-parr-2" rel="nofollow" target="_blank">197</a>)</li><li><a href="https://britishphotography.org/" rel="nofollow" target="_blank">Dr. Claire Hyman</a></li><li><a href="https://www.linkedin.com/in/tracy-marshall-grant-a26b42268/?originalSubdomain=uk" rel="nofollow" target="_blank">Tracy Marshall Grant</a></li><li><a href="https://modrex.com/" rel="nofollow" target="_blank">Chris Dorley Brown</a> (Ep. <a href="https://bensmithphoto.com/asmallvoice/chris-dorley-brown" rel="nofollow" target="_blank">97</a>)</li><li><a href="https://britishphotography.org/" rel="nofollow" target="_blank">James Hyman</a></li><li><a href="https://www.simoncroberts.com/" rel="nofollow" target="_blank">Simon Roberts</a> (<a href="https://www.ianparry.org/" rel="nofollow" target="_blank">Ian Parry Photojournalsim Grant</a>) (Ep. <a href="https://bensmithphoto.com/asmallvoice/simon-roberts" rel="nofollow" target="_blank">43</a>)</li><li><a href="https://candlestar.co.uk/" rel="nofollow" target="_blank">Michael Benson</a></li><li><a href="https://www.jillianedelstein.com/" rel="nofollow" target="_blank">Jillian Edelstein</a> (<a href="https://www.kickstarter.com/projects/gblimitededitions/here-and-there-an-expedition-of-sorts-by-jillian-edelstein?ref=section-homepage-view-more-recommendations-p1" rel="nofollow" target="_blank">KIckstarter</a>) (Ep. <a href="https://bensmithphoto.com/asmallvoice/jillian-edelstein" rel="nofollow" target="_blank">87</a>)</li><li><a href="https://gideonmendel.com/" rel="nofollow" target="_blank">Gideon Mendel</a> (Ep. <a href="https://bensmithphoto.com/asmallvoice/gideon-mendel" rel="nofollow" target="_blank">40</a>)</li><li><a href="https://www.flowphotographic.com/" rel="nofollow" target="_blank">Alex Schneiderman</a></li></ul> <a href="https://photolondon.org/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/photolondonfair/" rel="nofollow" target="_blank">Instagram</a>

205 - Photo London 2023 Special

Ivor Prickett

After taking a degree in Documentary Photography at the University of Wales, Newport, Ivor Prickett began working in Europe and the Middle East, striving to convey and denounce the effects of war on the civilian population – on the people whose lives it ravages and uproots, whatever side they may be on. Initially focused on the private, domestic sphere of war’s long-term social and humanitarian consequences, Ivor’s gaze has shifted over the years towards places of forced migration and lands where people seek refuge, and then to the front lines of combat zones.His early projects focused on stories of displaced people throughout the Balkans and Caucasus. Based in the Middle East since 2009, Ivor documented the Arab Spring uprisings in Egypt and Libya, working simultaneously on editorial assignments and his own long term projects. In 2012 he was selected for the World Press Photo Joop swart Masterclass, named as a FOAM Talent and selected by PDN for their 30 under 30 list. Travelling to more than ten countries between 2012 and 2015 Ivor documented the Syrian refugee crisis in the region as well as Europe, working closely in collaboration with UNHCR to produce a comprehensive study of the greatest humanitarian crisis in recent history. Most recently Ivor’s work has focused on the fight to defeat ISIS in Iraq and Syria. Ultimately working exclusively for the The New York Times he spent months on the ground, particularly covering the Battle of Mosul, reporting in both words and pictures. His work in Iraq and Syria has earned him multiple World Press Photo Awards and in 2018 he was named as a Pulitzer finalist. The entire body of work titled End of the Caliphate was released as a book by renowned German publisher Steidl in June 2019. Ivor’s work has been recognised through a number of prestigious awards including The World Press Photo, The Pulitzer Prizes, The Overseas Press Club Awards, Pictures of the Year International, The Taylor Wessing Portrait Prize and The Ian Parry Scholarship. Most recently he was shortlisted for the Prix Pictet 2019 cycle and his work is currently touring the globe as part of the group exhibition. His pictures have been exhibited widely at institutions such as The Victoria and Albert Museum, Sothebys, Foam Gallery and The National Portrait Gallery, London and he currently has a major solo show at Collezione Maramotti in Reggio Emilia, Italy, In conjunction with the 2023 Fotografia Europea festival, for which the theme is Europe Matters: Visions of a Restless Identity. Ivor’s show and the corresponding book is entitled No Home from War: Tales of Survival and Loss and features over fifty photographs taken in conflict zones from 2006 to 2022. It is the the largest show of Ivor’s work to date, the first in italy, and it will be up until 30th July 2023.Ivor is represented by Panos Pictures in London and he is a European Canon Ambassador. In episode 203, Ivor discusses, among other things:His route to Newport and what he got from going there.How he got started and his strategy to get his work seen.Arab Spring 2011 and the lessons learned from that.Branching out and needing to get closer to the source.Mosul.The NYT and being asked to write.Going through times of wanting to quit.What keeps him doing it.Is an art gallery the right place for photojournalism?Can your work have an impact?Ukraine.Processing the witnessing of horror and adjusting to normal life.AI and its implications for photojournalism.Referenced:Christine RedmondJoe StirlingKen GrantClive LandonCheryl NewmanTim HetheringtonChris HondrosDavid Furst Website | Instagram“By the time it came to the ISIS work in Iraq and Syria, it was almost like I wanted to get closer to the source myself and see up close what it was I’d been investigating all these years and what people had been running from. Maybe it was a personal fascination that led me there to a certain extent, but also Mosul was essentially a humanitarian crisis as much as a war, and that’s why I went in the first place. ”

After taking a degree in Documentary Photography at the University of Wales, Newport, Ivor Prickett began working in Europe and the Middle East, striving to convey and denounce the effects of war on the civilian population – on the people whose lives it ravages and uproots, whatever side they may be on. Initially focused on the private, domestic sphere of war’s long-term social and humanitarian consequences, Ivor’s gaze has shifted over the years towards places of forced migration and lands where people seek refuge, and then to the front lines of combat zones.His early projects focused on stories of displaced people throughout the Balkans and Caucasus. Based in the Middle East since 2009, Ivor documented the Arab Spring uprisings in Egypt and Libya, working simultaneously on editorial assignments and his own long term projects. In 2012 he was selected for the World Press Photo Joop swart Masterclass, named as a FOAM Talent and selected by PDN for their 30 under 30 list. Travelling to more than ten countries between 2012 and 2015 Ivor documented the Syrian refugee crisis in the region as well as Europe, working closely in collaboration with UNHCR to produce a comprehensive study of the greatest humanitarian crisis in recent history. Most recently Ivor’s work has focused on the fight to defeat ISIS in Iraq and Syria. Ultimately working exclusively for the The New York Times he spent months on the ground, particularly covering the Battle of Mosul, reporting in both words and pictures. His work in Iraq and Syria has earned him multiple World Press Photo Awards and in 2018 he was named as a Pulitzer finalist. The entire body of work titled <a href="https://steidl.de/Books/End-of-the-Caliphate-1728343845.html" rel="nofollow" target="_blank">End of the Caliphate</a> was released as a book by renowned German publisher Steidl in June 2019. Ivor’s work has been recognised through a number of prestigious awards including The World Press Photo, The Pulitzer Prizes, The Overseas Press Club Awards, Pictures of the Year International, The Taylor Wessing Portrait Prize and The Ian Parry Scholarship. Most recently he was shortlisted for the Prix Pictet 2019 cycle and his work is currently touring the globe as part of the group exhibition. His pictures have been exhibited widely at institutions such as The Victoria and Albert Museum, Sothebys, Foam Gallery and The National Portrait Gallery, London and he currently has a <a href="https://www.collezionemaramotti.org/en/exhibition-detail/-/ivor-prickett-collezione-maramotti/323365" rel="nofollow" target="_blank">major solo show at Collezione Maramotti in Reggio Emilia, Italy</a>, In conjunction with the <a href="https://www.fotografiaeuropea.it/fe2023/en/" rel="nofollow" target="_blank">2023 Fotografia Europea</a> festival, for which the theme is Europe Matters: Visions of a Restless Identity. Ivor’s show and the corresponding book is entitled No Home from War: Tales of Survival and Loss and features over fifty photographs taken in conflict zones from 2006 to 2022. It is the the largest show of Ivor’s work to date, the first in italy, and it will be up until 30th July 2023.Ivor is represented by Panos Pictures in London and he is a European Canon Ambassador. In episode 203, Ivor discusses, among other things:<ul><li>His route to Newport and what he got from going there.</li><li>How he got started and his strategy to get his work seen.</li><li>Arab Spring 2011 and the lessons learned from that.</li><li>Branching out and needing to get closer to the source.</li><li>Mosul.</li><li>The NYT and being asked to write.</li><li>Going through times of wanting to quit.</li><li>What keeps him doing it.</li><li>Is an art gallery the right place for photojournalism?</li><li>Can your work have an impact?</li><li>Ukraine.</li><li>Processing the witnessing of horror and adjusting to normal life.</li><li>AI and its implications for photojournalism.</li></ul>Referenced:<ul><li>Christine Redmond</li><li>Joe Stirling</li><li><a href="https://bensmithphoto.squarespace.com/asmallvoice/tag/Ken%20Grant" rel="nofollow" target="_blank">Ken Grant</a></li><li>Clive Landon</li><li><a href="https://www.cheryl-newman.com/about" rel="nofollow" target="_blank">Cheryl Newman</a></li><li><a href="https://en.wikipedia.org/wiki/Tim_Hetherington" rel="nofollow" target="_blank">Tim Hetherington</a></li><li><a href="https://en.wikipedia.org/wiki/Chris_Hondros" rel="nofollow" target="_blank">Chris Hondros</a></li><li><a href="https://www.cjr.org/special_report/david-furst-departure-photo-editor-new-york-times.php" rel="nofollow" target="_blank">David Furst</a></li></ul> <a href="https://www.ivorprickett.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/ivorprickett/" rel="nofollow" target="_blank">Instagram</a><blockquote>“By the time it came to the ISIS work in Iraq and Syria, it was almost like I wanted to get closer to the source myself and see up close what it was I’d been investigating all these years and what people had been running from. Maybe it was a personal fascination that led me there to a certain extent, but also Mosul was essentially a humanitarian crisis as much as a war, and that’s why I went in the first place. ”</blockquote>

204 - Ivor Prickett

Stacy Kranitz

Working within the documentary tradition, Stacy Kranitz makes photographs that acknowledge the limits of photographic representation. Her images do not tell the “truth” but are honest about their inherent shortcomings, and thus reclaim these failures (exoticism, ambiguity, fetishization) as sympathetic equivalents in order to more forcefully convey the complexity and instability of the lives, places, and moments they depict.Stacy was born in Kentucky and currently lives in the Appalachian Mountains of eastern Tennessee. She is a 2020 Guggenheim Fellow. Additional awards include the Michael P. Smith Fund for Documentary Photography (2017), a Southern Documentary Fund Research and Development grant (2020), a Puffin Foundation grant (2022), and a Center for Documentation Fellowship (2023). Her work was shortlisted for the Louis Roederer Discovery Award (2019). She has presented solo exhibitions of her photographs at the Diffusion Festival of Photography in Cardiff, Wales (2015), the Rencontres d’Arles in Arles, France, the Cortona on the Move festival in Cortona, Italy (2022) and the Tennessee Triennial (2023) Her photographs are in several public collections including the Harvard Art Museum, the Museum of Fine Art, Houston, and Duke Universities, Archive of Documentary Arts. Stacy works as an assignment photographer for such publications as Time, National Geographic, the New York Times, Vanity Fair, the Atlantic and Mother Jones. Her first monograph, As it Was Give(n) To Me, was published by Twin Palms in 2022 and was shortlisted for a Paris Photo - Aperture First Photobook Award. In episode 202, Stacy discusses, among other things:Her ‘awful’ childhoodHer interest in the grey areasViolence as catharsisWhy she was dissatisfied with her early work……and what she did about itHow she ‘accidentally’ ended up living in her car for 3.5 yearsBlurring her professional and personal livesHow she came to work in AppalachiaThe title of her book, As it Was Give(n) To MeThe mythology of Daniel BooneWhy she included self-portraits in the bookPlaying with stereotypes and representation in her imagesHer grant writing endeavoursHer next project in AppalachiaThe challenges of editing the bookThe long term nature of her projects Referenced:Harry CottleThe FSAJack Woody Website | Instagram“The camera for me is a connector. It connects me to people. And I always knew that if I hadn’t been a photographer, especially an editorial photographer where you’re sent out to all these different places, that I would be a very unhealthy hermit and I would just wither away. (Which isn’t even logical, but that’s how I felt). So the camera is a lifeline for me.”

Working within the documentary tradition, Stacy Kranitz makes photographs that acknowledge the limits of photographic representation. Her images do not tell the “truth” but are honest about their inherent shortcomings, and thus reclaim these failures (exoticism, ambiguity, fetishization) as sympathetic equivalents in order to more forcefully convey the complexity and instability of the lives, places, and moments they depict.Stacy was born in Kentucky and currently lives in the Appalachian Mountains of eastern Tennessee. She is a 2020 Guggenheim Fellow. Additional awards include the Michael P. Smith Fund for Documentary Photography (2017), a Southern Documentary Fund Research and Development grant (2020), a Puffin Foundation grant (2022), and a Center for Documentation Fellowship (2023). Her work was shortlisted for the Louis Roederer Discovery Award (2019). She has presented solo exhibitions of her photographs at the Diffusion Festival of Photography in Cardiff, Wales (2015), the Rencontres d’Arles in Arles, France, the Cortona on the Move festival in Cortona, Italy (2022) and the Tennessee Triennial (2023) Her photographs are in several public collections including the Harvard Art Museum, the Museum of Fine Art, Houston, and Duke Universities, Archive of Documentary Arts. Stacy works as an assignment photographer for such publications as Time, National Geographic, the New York Times, Vanity Fair, the Atlantic and Mother Jones. Her first monograph, <a href="https://twinpalms.com/products/as-it-was-given-to-me" rel="nofollow" target="_blank">As it Was Give(n) To Me</a>, was published by Twin Palms in 2022 and was shortlisted for a Paris Photo - Aperture First Photobook Award. In episode 202, Stacy discusses, among other things:<ul><li>Her ‘awful’ childhood</li><li>Her interest in the grey areas</li><li>Violence as catharsis</li><li>Why she was dissatisfied with her early work…</li><li>…and what she did about it</li><li>How she ‘accidentally’ ended up living in her car for 3.5 years</li><li>Blurring her professional and personal lives</li><li>How she came to work in Appalachia</li><li>The title of her book, <a href="https://twinpalms.com/products/as-it-was-given-to-me" rel="nofollow" target="_blank">As it Was Give(n) To Me</a></li><li>The mythology of <a href="https://en.wikipedia.org/wiki/Daniel_Boone" rel="nofollow" target="_blank">Daniel Boone</a></li><li>Why she included self-portraits in the book</li><li>Playing with stereotypes and representation in her images</li><li>Her grant writing endeavours</li><li>Her next project in Appalachia</li><li>The challenges of editing the book</li><li>The long term nature of her projects</li></ul> Referenced:<ul><li>Harry Cottle</li><li><a href="https://en.wikipedia.org/wiki/Farm_Security_Administration" rel="nofollow" target="_blank">The FSA</a></li><li><a href="https://www.linkedin.com/in/jack-woody-162a7629/" rel="nofollow" target="_blank">Jack Woody</a></li></ul> <a href="https://www.stacykranitz.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/stacykranitz/" rel="nofollow" target="_blank">Instagram</a><blockquote>“The camera for me is a connector. It connects me to people. And I always knew that if I hadn’t been a photographer, especially an editorial photographer where you’re sent out to all these different places, that I would be a very unhealthy hermit and I would just wither away. (Which isn’t even logical, but that’s how I felt). So the camera is a lifeline for me.”</blockquote>

203 - Stacy Kranitz

Igor Posner

Igor Posner was born in Leningrad (St. Petersburg). After the fall of the Soviet Union, he moved to California in the early 90s. He studied molecular and cell biology at the University of California, Los Angeles, where he first started to take pictures and experiment in the darkroom.Initial infatuation with picture-taking led Igor to explore the silent and haunting experience of walking after dark on the streets of Los Angeles and Tijuana. In a collision between social and typical with personal and psychological, this first series of images “Nonesuch Records” savors the strange solitude of the enigmatic region between California and Mexico; amid the streets, bars, night shelter hotels, and disappearing nocturnal figures.After 14 years, Igor returned to St. Petersburg in 2006, taking up photography full time, which led to his first book Past Perfect Continuous, published by Red Hook Editions in 2017.In 2022, Igor published his second monograph, entitled, Cargó. The book is a visual exloration of psychological aspects of migration and the gradual disappearance of neighborhoods based on immigrant communities in North America.Igor is currently based in New York and in 2021 he joined Brooklyn-based independent publishing company Red Hook Editions as a managing partner. Igor’s work has been shown in North America, Europe, Russia, and Southeast Asia and he has been a member of Prospekt Photographers since 2011. In episode 202, Igor discusses, among other things:Growing up in St. PetersburgMoving to the USABeing gifted a camera by his motherThe New York Photo LeagueShooting in LAThe ‘language’ he employs intuitivelyReturning to RussiaFirst attempts at editing being a ‘total failure’Brighton Beach and his second book, Cargo.The themes associated with the bookCommercial workSocial mediaReferenced:Anders PetersenMichael AckermanAntoine D’agataRobert FrankJason Eskenazi Website | Instagram“All I wanted to do was go out there and be on the street and just photograph. It was an incredible sense of freedom and liberation for the first time in my life of not going from point A to point B. That’s what photography gives you because you have to be open to everything that’s around you. All of a sudden I started just looking at things. That’s a very trivial thing to say, but to me it felt like something I’ve never experienced before or at least not since my early childhood.”

Igor Posner was born in Leningrad (St. Petersburg). After the fall of the Soviet Union, he moved to California in the early 90s. He studied molecular and cell biology at the University of California, Los Angeles, where he first started to take pictures and experiment in the darkroom. Initial infatuation with picture-taking led Igor to explore the silent and haunting experience of walking after dark on the streets of Los Angeles and Tijuana. In a collision between social and typical with personal and psychological, this first series of images “Nonesuch Records” savors the strange solitude of the enigmatic region between California and Mexico; amid the streets, bars, night shelter hotels, and disappearing nocturnal figures. After 14 years, Igor returned to St. Petersburg in 2006, taking up photography full time, which led to his first book <a href="https://redhookeditions.com/portfolio/past-perfect-continuous/" rel="nofollow" target="_blank">Past Perfect Continuous</a>, published by <a href="https://www.redhookeditions.com/" rel="nofollow" target="_blank">Red Hook Editions</a> in 2017. In 2022, Igor published his second monograph, entitled, <a href="https://www.redhookeditions.com/books-1/carg" rel="nofollow" target="_blank">Cargó</a>. The book is a visual exloration of psychological aspects of migration and the gradual disappearance of neighborhoods based on immigrant communities in North America. Igor is currently based in New York and in 2021 he joined Brooklyn-based independent publishing company <a href="https://www.redhookeditions.com/" rel="nofollow" target="_blank">Red Hook Editions</a> as a managing partner.  Igor’s work has been shown in North America, Europe, Russia, and Southeast Asia and he has been a member of <a href="http://www.prospektphoto.net/" rel="nofollow" target="_blank">Prospekt Photographers</a> since 2011. In episode 202, Igor discusses, among other things:<ul><li>Growing up in St. Petersburg</li><li>Moving to the USA</li><li>Being gifted a camera by his mother</li><li>The New York Photo League</li><li>Shooting in LA</li><li>The ‘language’ he employs intuitively</li><li>Returning to Russia</li><li>First attempts at editing being a ‘total failure’</li><li>Brighton Beach and his second book, Cargo.</li><li>The themes associated with the book</li><li>Commercial work</li><li>Social media</li></ul>Referenced:<ul><li>Anders Petersen</li><li>Michael Ackerman</li><li>Antoine D’agata</li><li>Robert Frank</li><li>Jason Eskenazi</li></ul> <a href="https://igorposner.net/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/igorposner/" rel="nofollow" target="_blank">Instagram</a><blockquote>“All I wanted to do was go out there and be on the street and just photograph. It was an incredible sense of freedom and liberation for the first time in my life of not going from point A to point B. That’s what photography gives you because you have to be open to everything that’s around you. All of a sudden I started just looking at things. That’s a very trivial thing to say, but to me it felt like something I’ve never experienced before or at least not since my early childhood.”</blockquote>

202 - Igor Posner

Antoine D'Agata

Antoine D'Agata is a French photographer and film director and a full member of Magnum Photos. His photographic subjects have mostly been those on the fringes of society and his work deals with topics often considered taboo, such as addiction, sex, personal obsessions, darkness, and prostitution.Born in Marseilles in 1961, Antoine left France in his early 20s and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin. During his time in New York, Antoine worked as an intern in the editorial department of Magnum Photos, but after his return to France in 1993, he took a four-year break from photography. His first books of photographs, De Mala Muerte, and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001, he published Hometown and won the Niépce Prize for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September; Stigma was published in 2004, and Manifeste in 2005.Since 2005 Antoine d’Agata has had no settled place of residence but has worked around the world. He is currently based in Paris. In episode 201, Antoine discusses, among other things:Wanting to become a priest at 15SacrificeMoving to LondonSituationismHis intro to photography before he took picturesBeing accepted into the ICP as a ’social experiment’Being ‘ashamed’ of having left the streetCritics not having the full factsMoments of ParoxsysmThe question for morality and ethicsQuitting photography for 4-5 yearsCambodia, his book Ice, Crystal Meth and the consequences of using itHow he manages to endure the banality of the real worldContaminationHis Covid project with a heat sensitive cameraHis commitment to and passion for teaching workshops Referenced:Luc DelahayeMoises Saman Instagram“I didn’t want to betray in any way what I was or what I was doing, so I needed to find different ways to keep going without negating what I believed in, and photography seemed to be the only considerable way to do it…”

Antoine D'Agata is a French photographer and film director and a full member of Magnum Photos. His photographic subjects have mostly been those on the fringes of society and his work deals with topics often considered taboo, such as addiction, sex, personal obsessions, darkness, and prostitution.Born in Marseilles in 1961, Antoine left France in his early 20s and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin. During his time in New York, Antoine worked as an intern in the editorial department of Magnum Photos, but after his return to France in 1993, he took a four-year break from photography. His first books of photographs, De Mala Muerte, and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001, he published Hometown and won the <a href="https://en.wikipedia.org/wiki/Ni%C3%A9pce_Prize" rel="nofollow" target="_blank">Niépce Prize</a> for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September; Stigma was published in 2004, and Manifeste in 2005.Since 2005 Antoine d’Agata has had no settled place of residence but has worked around the world. He is currently based in Paris. In episode 201, Antoine discusses, among other things:<ul><li>Wanting to become a priest at 15</li><li>Sacrifice</li><li>Moving to London</li><li>Situationism</li><li>His intro to photography before he took pictures</li><li>Being accepted into the ICP as a ’social experiment’</li><li>Being ‘ashamed’ of having left the street</li><li>Critics not having the full facts</li><li>Moments of Paroxsysm</li><li>The question for morality and ethics</li><li>Quitting photography for 4-5 years</li><li>Cambodia, his book Ice, Crystal Meth and the consequences of using it</li><li>How he manages to endure the banality of the real world</li><li>Contamination</li><li>His Covid project with a heat sensitive camera</li><li>His commitment to and passion for teaching workshops</li></ul> Referenced:<ul><li>Luc Delahaye</li><li>Moises Saman</li></ul> <a href="https://www.instagram.com/antoinedagata/" rel="nofollow" target="_blank">Instagram</a><blockquote>“I didn’t want to betray in any way what I was or what I was doing, so I needed to find different ways to keep going without negating what I believed in, and photography seemed to be the only considerable way to do it…”</blockquote>

201 - Antoine D'Agata

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Based in London, Emma Hardy is well practiced in capturing the nuances of everyday life. Her images reflect an often unnoticed drama behind the scenes. Coming from a theatrical background and having worked as an actress herself before focusing on photography, Emma cites her fascination with people’s behaviour, the tensions, interactions and quirky humour, as a driving energy in her work.Mainly self-taught, Emma photographs on film, simply, with natural or available light, stating “I try not to impose much technique or too much of myself on my subjects.” As such, there’s a hallmark honesty to her work. Her images are infused with a believable sense of being, her portraits are intimate and unselfconscious. Tilda Swinton, Natalia Vodianova, Noomi Rapace, Michael Fassbender and Stella McCartney have sat for her, among others.She started photographing portraits, documents and fashion for British Vogue, The Telegraph magazine, Vanity Fair, The Fader, The New York Times and Rolling Stone, among many others, and had her first solo exhibition at the National Portrait Gallery in London in 2006 with a project titled Exceptional Youth.  Other exhibitions in London, New York and Milan followed, and she was invited to photograph a series of portraits for the London 2012 Olympics, again featured at the National Portrait Gallery. Thirty-nine of her portraits are in the permanent collection at the NPG London. In 2012 she was commissioned by Oxfam &amp; The Economist to travel to Cambodia to document the citizens of Phnom Penh who were battling the governments land grabs—this series became an exhibition in London in 2013 titled Losing Ground, the exhibition travelled to Washington DC where the images were used as a lobbying tool to help the Cambodian situation onto the G8 summit list.Permissions, Emma’s first monograph, was published by Gost Books in November 2022.  Some of the images were exhibited at 1014 Gallery in Dalston, London, December 2022 - January 2023.Describing her aesthetic as raw but tender, Emma finds beauty in imperfection, and polish in the detail of everyday life. And through her lens, the most ordinary moments seem steeped in romance and intrigue, as if her subjects are characters in a movie playing in her head.On episode 200, Emma discusses, among other things:Is art more pure if it’s done for the joy of it?Beauty and lyricismChildhood feelings of being an outsiderTaking pictures of her children from an early ageTrying to transmit how she felt in her workThe inclusion of still lifes of flowersWhy she started to photograph her mumThe issue of permission and consentHow the way she shot changed over timeReferenced:Nan GoldinRichard BillinghamNick WaplingtonVivian Maier4000 Weeks by Oliver BurkemanStuart SmithStephen Ledger-LomasNiall Sweeney Website | Instagram“When things line up, when life or the universe says ‘I’ve got something I can show you. Are you ready? ARE you ready?’ And you might be ready, and you might catch this thing that is shown to you. And that’s incredibly beautiful. And the times that that has happened I was very aware of it. Like, my whole body started fizzing.”

Based in London, Emma Hardy is well practiced in capturing the nuances of everyday life. Her images reflect an often unnoticed drama behind the scenes. Coming from a theatrical background and having worked as an actress herself before focusing on photography, Emma cites her fascination with people’s behaviour, the tensions, interactions and quirky humour, as a driving energy in her work.Mainly self-taught, Emma photographs on film, simply, with natural or available light, stating “I try not to impose much technique or too much of myself on my subjects.” As such, there’s a hallmark honesty to her work. Her images are infused with a believable sense of being, her portraits are intimate and unselfconscious. Tilda Swinton, Natalia Vodianova, Noomi Rapace, Michael Fassbender and Stella McCartney have sat for her, among others.She started photographing portraits, documents and fashion for British Vogue, The Telegraph magazine, Vanity Fair, The Fader, The New York Times and Rolling Stone, among many others, and had her first solo exhibition at the National Portrait Gallery in London in 2006 with a project titled Exceptional Youth.  Other exhibitions in London, New York and Milan followed, and she was invited to photograph a series of portraits for the London 2012 Olympics, again featured at the National Portrait Gallery. Thirty-nine of her portraits are in the permanent collection at the NPG London. In 2012 she was commissioned by Oxfam &amp; The Economist to travel to Cambodia to document the citizens of Phnom Penh who were battling the governments land grabs—this series became an exhibition in London in 2013 titled Losing Ground, the exhibition travelled to Washington DC where the images were used as a lobbying tool to help the Cambodian situation onto the G8 summit list.<a href="https://gostbooks.com/product/permissions/" rel="nofollow" target="_blank">Permissions</a>, Emma’s first monograph, was published by Gost Books in November 2022.  Some of the images were exhibited at 1014 Gallery in Dalston, London, December 2022 - January 2023.Describing her aesthetic as raw but tender, Emma finds beauty in imperfection, and polish in the detail of everyday life. And through her lens, the most ordinary moments seem steeped in romance and intrigue, as if her subjects are characters in a movie playing in her head.On episode 200, Emma discusses, among other things:<ul><li>Is art more pure if it’s done for the joy of it?</li><li>Beauty and lyricism</li><li>Childhood feelings of being an outsider</li><li>Taking pictures of her children from an early age</li><li>Trying to transmit how she felt in her work</li><li>The inclusion of still lifes of flowers</li><li>Why she started to photograph her mum</li><li>The issue of permission and consent</li><li>How the way she shot changed over time</li></ul>Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Nan_Goldin" rel="nofollow" target="_blank">Nan Goldin</a></li><li><a href="https://en.wikipedia.org/wiki/Richard_Billingham" rel="nofollow" target="_blank">Richard Billingham</a></li><li><a href="https://bensmithphoto.com/asmallvoice/nick-waplington" rel="nofollow" target="_blank">Nick Waplington</a></li><li><a href="https://en.wikipedia.org/wiki/Vivian_Maier" rel="nofollow" target="_blank">Vivian Maier</a></li><li><a href="https://www.theguardian.com/books/2021/aug/16/four-thousand-weeks-time-and-how-to-use-it-by-oliver-burkeman-review" rel="nofollow" target="_blank">4000 Weeks by Oliver Burkeman</a></li><li><a href="https://gostbooks.com/" rel="nofollow" target="_blank">Stuart Smith</a></li><li><a href="https://www.linkedin.com/in/stephen-ledger-lomas-6465678/?originalSubdomain=uk" rel="nofollow" target="_blank">Stephen Ledger-Lomas</a></li><li><a href="https://www.instagram.com/weeneypony/?hl=en" rel="nofollow" target="_blank">Niall Sweeney</a></li></ul> <a href="http://www.emmahardy.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/emmahardy7/" rel="nofollow" target="_blank">Instagram</a><blockquote>“When things line up, when life or the universe says ‘I’ve got something I can show you. Are you ready? ARE you ready?’ And you might be ready, and you might catch this thing that is shown to you. And that’s incredibly beautiful. And the times that that has happened I was very aware of it. Like, my whole body started fizzing.”</blockquote>

200 - Emma Hardy

Nick Brandt

Nick Brandt’s photographic series always relate to the devastating impact that humankind is having on both the rapidly disappearing natural world and now on itself, as a result of environmental destruction, climate change and human actions.In the East African trilogy, On This Earth, A Shadow Falls Across The Ravaged Land(2001-2012), Nick established a style of portrait photography of animals in the wild similar to that of humans in a studio setting, shooting on medium format film, and attempting to portray animals as sentient creatures not so different from us.In Inherit the Dust(2016), Nick photographed in places in East Africa where the animals used to roam. In each location, life size panels of unreleased animal portrait photographs were erected, setting the panels within a world of explosive human development. It is not just the animals who are the victims in this out of control world, but also the humans.Photographed in color, This Empty World(2019) addresses the escalating destruction of the East African natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos are also often helplessly swept along by the relentless tide of ‘progress’. Each image is a combination of two moments in time shot from the exact same camera position, once with wild animals that enter the frame, after which a set is built and a cast of people drawn from local communities.The Day May Break (2021) is the first part of a global series portraying people &amp; animals impacted by environmental destruction. Photographed in Zimbabwe and Kenya, the people in the photos have all been badly affected by climate change - displaced by cyclones that destroyed their homes, displaced &amp; impoverished after years-long severe droughts. The photos were taken at 5 sanctuaries/conservancies. The animals are almost all long-term rescues, due to everything from poaching of their parents to habitat destruction &amp; poisoning. These animals can never be released back into the wild. Now habituated, it was therefore safe for strangers to be photographed close to the animals in the same frame.Nick has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles. All the series are published in book form. Born and raised in London, where he originally studied Painting and Film, Nick now lives in the southern Californian mountains. In 2010, Nick co-founded Big Life Foundation, a non-profit in Kenya/Tanzania employing more than 300 local rangers protecting 1.6 million acres of the Amboseli/Kilimanjaro ecosystem.On episode 199, Nick discusses, among other things:Why he moved to the USAHis 18 ‘wasted’ years making filmsHis first trilogy of projects: On This Earth, A Shadow Falls Across The Ravaged LandHaving a niche that enabled him to start making a livingOnly taking photographs to exist on printsInherit the DustGoing in to each project both ‘excited and scared shitless’This Empty WorldThe Day May BreakHow he was personally impacted by wild fires at home in CaliforniaThe story of Kuda and Sky IIHis level of optimism about climate changeReferenced:Martin McDonaghRichard AvedonIrving PennArnold NewmanGreta Thunberg Website | Instagram“Every project I go into I have no bloody clue whether it’s gonna work. But, that is part of the buzz, by which I mean I like to go into each project excited and scared shitless. I find that challenge to be incredibly stimulating.”

Nick Brandt’s photographic series always relate to the devastating impact that humankind is having on both the rapidly disappearing natural world and now on itself, as a result of environmental destruction, climate change and human actions. In the East African trilogy, <a href="https://www.nickbrandt.com/on-this-earth-trilogy/" rel="nofollow" target="_blank">On This Earth, A Shadow Falls Across The Ravaged Land</a>(2001-2012), Nick established a style of portrait photography of animals in the wild similar to that of humans in a studio setting, shooting on medium format film, and attempting to portray animals as sentient creatures not so different from us. In <a href="https://www.inheritthedust.com/" rel="nofollow" target="_blank">Inherit the Dust</a>(2016), Nick photographed in places in East Africa where the animals used to roam. In each location, life size panels of unreleased animal portrait photographs were erected, setting the panels within a world of explosive human development. It is not just the animals who are the victims in this out of control world, but also the humans. Photographed in color, <a href="https://www.thisemptyworld.com/" rel="nofollow" target="_blank">This Empty World</a>(2019) addresses the escalating destruction of the East African natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos are also often helplessly swept along by the relentless tide of ‘progress’. Each image is a combination of two moments in time shot from the exact same camera position, once with wild animals that enter the frame, after which a set is built and a cast of people drawn from local communities. <a href="https://www.nickbrandt.com/the-day-may-break/" rel="nofollow" target="_blank">The Day May Break</a> (2021) is the first part of a global series portraying people &amp; animals impacted by environmental destruction. Photographed in Zimbabwe and Kenya, the people in the photos have all been badly affected by climate change - displaced by cyclones that destroyed their homes, displaced &amp; impoverished after years-long severe droughts. The photos were taken at 5 sanctuaries/conservancies. The animals are almost all long-term rescues, due to everything from poaching of their parents to habitat destruction &amp; poisoning. These animals can never be released back into the wild. Now habituated, it was therefore safe for strangers to be photographed close to the animals in the same frame. Nick has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles. All the series are published in book form. Born and raised in London, where he originally studied Painting and Film, Nick now lives in the southern Californian mountains. In 2010, Nick co-founded <a href="https://biglife.org/" rel="nofollow" target="_blank">Big Life Foundation</a>, a non-profit in Kenya/Tanzania employing more than 300 local rangers protecting 1.6 million acres of the Amboseli/Kilimanjaro ecosystem.On episode 199, Nick discusses, among other things:<ul><li>Why he moved to the USA</li><li>His 18 ‘wasted’ years making films</li><li>His first trilogy of projects: <a href="https://www.nickbrandt.com/on-this-earth-trilogy/" rel="nofollow" target="_blank">On This Earth, A Shadow Falls Across The Ravaged Land</a></li><li>Having a niche that enabled him to start making a living</li><li>Only taking photographs to exist on prints</li><li><a href="https://www.inheritthedust.com/" rel="nofollow" target="_blank">Inherit the Dust</a></li><li>Going in to each project both ‘excited and scared shitless’</li><li><a href="https://www.thisemptyworld.com/" rel="nofollow" target="_blank">This Empty World</a></li><li><a href="https://www.nickbrandt.com/the-day-may-break/" rel="nofollow" target="_blank">The Day May Break</a></li><li>How he was personally impacted by wild fires at home in California</li><li>The story of Kuda and Sky II</li><li>His level of optimism about climate change</li></ul>Referenced:<ul><li><a href="https://www.imdb.com/name/nm1732981/?ref_=nv_sr_srsg_2" rel="nofollow" target="_blank">Martin McDonagh</a></li><li><a href="https://en.wikipedia.org/wiki/Richard_Avedon" rel="nofollow" target="_blank">Richard Avedon</a></li><li><a href="https://en.wikipedia.org/wiki/Irving_Penn" rel="nofollow" target="_blank">Irving Penn</a></li><li><a href="https://en.wikipedia.org/wiki/Arnold_Newman" rel="nofollow" target="_blank">Arnold Newman</a></li><li><a href="https://en.wikipedia.org/wiki/Greta_Thunberg" rel="nofollow" target="_blank">Greta Thunberg</a></li></ul> <a href="https://www.nickbrandt.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/nickbrandtphotography/" rel="nofollow" target="_blank">Instagram</a><blockquote>“Every project I go into I have no bloody clue whether it’s gonna work. But, that is part of the buzz, by which I mean I like to go into each project excited and scared shitless. I find that challenge to be incredibly stimulating.”</blockquote>

199 - Nick Brandt

Gregory Crewdson

Gregory Crewdson’s photographs have entered the American visual lexicon, taking their place alongside the paintings of Edward Hopper and the films of Alfred Hitchcock and David Lynch as indelible evocations of a silent psychological interzone between the everyday and the uncanny. Often working with a large team, Crewdson typically plans each image with meticulous attention to detail, orchestrating light, color, and production design to conjure dreamlike scenes infused with mystery and suspense. While the small-town settings of many of Crewdson’s images are broadly familiar, he is careful to avoid signifiers of identifiable sites and moments, establishing a world outside time.Born in Brooklyn, New York, Crewdson is a graduate of SUNY Purchase and the Yale University School of Art, where he is now director of graduate studies in photography. He lives and works in New York and Massachusetts. In a career spanning more than three decades, he has produced a succession of widely acclaimed bodies of work, from Natural Wonder (1992–97) to Cathedral of the Pines (2013–14). Beneath the Roses (2003–08), a series of pictures that took nearly ten years to complete—and which employed a crew of more than one hundred people—was the subject of the 2012 feature documentary Gregory Crewdson: Brief Encounters, by Ben Shapiro.Crewdson’s emblematic series Twilight (1998–2002) ushers the viewer into a nocturnal arena of alienation and desire that is at once forbidding and darkly magnetic. In these lush photographs, the elements intervene unexpectedly and alarmingly into suburban domestic space. Crewdson’s psychological realism is tempered in these images by their heightened theatricality, while themes of memory and imagination, the banal and the fantastic, function in concert with a narrative of pain and redemption that runs through American history and its picturing.Cathedral of the Pines, which was first exhibited at Gagosian in New York in 2016, depicts unnamed figures situated in the forests around the town of Becket, Massachusetts. In scenes that evoke nineteenth-century American and European history paintings, the works’ subjects appear traumatized by mysterious events or suspended in a fugue state. Working with a small crew to maintain an intimate and immediate atmosphere, the artist also used people close to him as models. But even once we know who “plays” the protagonists, their actions remain cryptic and their relationships unclear. “There are no answers here,” states the artist, “only questions.” The 2018–19 series An Eclipse of Moths is set amid down-at-heel postindustrial locations including an abandoned factory and a disused taxi depot. They serve as backdrops for Crewdson’s enigmatic dramas of decay and potential rebirth.Gregory’s most recent body of work, Eveningside (2021-2022), was shot in B&amp;W and formed the centrepiece of a retrospective trilogy of work, alongside Cathedral of the Pines and An Eclipse of Moths, in a major exhibition at Galerie D’Italia in Turin from October 2022 until January 2023. A older series called Fireflies (1996) was also included as ‘both connective tissue and counterpoint…’. A book, also entitled Eveningside, was published to accompany the show. On episode 198, Gregory discusses, among other things:The three phases of his creative processWhy he chose B&amp;W for EveningsideHis transition from film to digitalThe abiding themes in his workHow every artist has one story to tellFalling in love with photography from day oneHis love of moviesThe significance of nudity in his workAllowing for ‘a certain kind of unexpected beauty and mystery’ to come out of the processWindowsNever being quite satisfied with the resultsThe relationship between true beauty and sadnessThe act of making a picture being an act of seperation from the worldThe way in which the subjects of his work always seem disconnected and alone…And how that references the act of making the picture.ReferencedThe Night of the HunterThe Last Picture ShowMankRomaRick SandsLaurie Simmonds Gallery | Instagram“I’ve said many times, I feel like every artist has one story to tell and that central story is told through an artists lifetime, and when you come of age in your early twenties you’re confronted with movies and artwork that you love or you hate and you’re defined in a certain way as a kind of aesthetic being, and then you spend your life sort of working out those things, and trying to find yourself within that frame of influences.”

Gregory Crewdson’s photographs have entered the American visual lexicon, taking their place alongside the paintings of Edward Hopper and the films of Alfred Hitchcock and David Lynch as indelible evocations of a silent psychological interzone between the everyday and the uncanny. Often working with a large team, Crewdson typically plans each image with meticulous attention to detail, orchestrating light, color, and production design to conjure dreamlike scenes infused with mystery and suspense. While the small-town settings of many of Crewdson’s images are broadly familiar, he is careful to avoid signifiers of identifiable sites and moments, establishing a world outside time.Born in Brooklyn, New York, Crewdson is a graduate of SUNY Purchase and the Yale University School of Art, where he is now director of graduate studies in photography. He lives and works in New York and Massachusetts. In a career spanning more than three decades, he has produced a succession of widely acclaimed bodies of work, from Natural Wonder (1992–97) to <a href="https://gagosian.com/exhibitions/2016/gregory-crewdson-cathedral-of-the-pines/" rel="nofollow" target="_blank">Cathedral of the Pines</a> (2013–14). <a href="https://gagosian.com/exhibitions/2005/gregory-crewdson-beneath-the-roses/" rel="nofollow" target="_blank">Beneath the Roses</a> (2003–08), a series of pictures that took nearly ten years to complete—and which employed a crew of more than one hundred people—was the subject of the 2012 feature documentary Gregory Crewdson: Brief Encounters, by Ben Shapiro.Crewdson’s emblematic series <a href="https://gagosian.com/exhibitions/2002/gregory-crewdson-twilight/" rel="nofollow" target="_blank">Twilight</a> (1998–2002) ushers the viewer into a nocturnal arena of alienation and desire that is at once forbidding and darkly magnetic. In these lush photographs, the elements intervene unexpectedly and alarmingly into suburban domestic space. Crewdson’s psychological realism is tempered in these images by their heightened theatricality, while themes of memory and imagination, the banal and the fantastic, function in concert with a narrative of pain and redemption that runs through American history and its picturing.<a href="https://gagosian.com/exhibitions/2016/gregory-crewdson-cathedral-of-the-pines/" rel="nofollow" target="_blank">Cathedral of the Pines</a>, which was first exhibited at Gagosian in New York in 2016, depicts unnamed figures situated in the forests around the town of Becket, Massachusetts. In scenes that evoke nineteenth-century American and European history paintings, the works’ subjects appear traumatized by mysterious events or suspended in a fugue state. Working with a small crew to maintain an intimate and immediate atmosphere, the artist also used people close to him as models. But even once we know who “plays” the protagonists, their actions remain cryptic and their relationships unclear. “There are no answers here,” states the artist, “only questions.” The 2018–19 series <a href="https://gagosian.com/exhibitions/2020/gregory-crewdson-an-eclipse-of-moths/" rel="nofollow" target="_blank">An Eclipse of Moths</a> is set amid down-at-heel postindustrial locations including an abandoned factory and a disused taxi depot. They serve as backdrops for Crewdson’s enigmatic dramas of decay and potential rebirth.Gregory’s most recent body of work, Eveningside (2021-2022), was shot in B&amp;W and formed the centrepiece of a retrospective trilogy of work, alongside Cathedral of the Pines and <a href="https://gagosian.com/exhibitions/2020/gregory-crewdson-an-eclipse-of-moths/" rel="nofollow" target="_blank">An Eclipse of Moths</a>, in a major exhibition at Galerie D’Italia in Turin from October 2022 until January 2023. A older series called Fireflies (1996) was also included as ‘both connective tissue and counterpoint…’. A book, also entitled Eveningside, was published to accompany the show. On episode 198, Gregory discusses, among other things:<ul><li>The three phases of his creative process</li><li>Why he chose B&amp;W for Eveningside</li><li>His transition from film to digital</li><li>The abiding themes in his work</li><li>How every artist has one story to tell</li><li>Falling in love with photography from day one</li><li>His love of movies</li><li>The significance of nudity in his work</li><li>Allowing for ‘a certain kind of unexpected beauty and mystery’ to come out of the process</li><li>Windows</li><li>Never being quite satisfied with the results</li><li>The relationship between true beauty and sadness</li><li>The act of making a picture being an act of seperation from the world</li><li>The way in which the subjects of his work always seem disconnected and alone…</li><li>And how that references the act of making the picture.</li></ul>Referenced<ul><li><a href="https://www.imdb.com/title/tt0048424/?ref_=nv_sr_srsg_0" rel="nofollow" target="_blank">The Night of the Hunter</a></li><li><a href="https://www.imdb.com/title/tt0067328/?ref_=nv_sr_srsg_0" rel="nofollow" target="_blank">The Last Picture Show</a></li><li><a href="https://www.imdb.com/title/tt10618286/?ref_=nv_sr_srsg_0" rel="nofollow" target="_blank">Mank</a></li><li><a href="https://www.imdb.com/title/tt6155172/?ref_=nv_sr_srsg_1" rel="nofollow" target="_blank">Roma</a></li><li><a href="https://www.imdb.com/name/nm1137958/" rel="nofollow" target="_blank">Rick Sands</a></li><li><a href="https://en.wikipedia.org/wiki/Laurie_Simmons" rel="nofollow" target="_blank">Laurie Simmonds</a></li></ul> <a href="https://gagosian.com/artists/gregory-crewdson/" rel="nofollow" target="_blank">Gallery</a> | <a href="https://www.instagram.com/crewdsonstudio/" rel="nofollow" target="_blank">Instagram</a><blockquote>“I’ve said many times, I feel like every artist has one story to tell and that central story is told through an artists lifetime, and when you come of age in your early twenties you’re confronted with movies and artwork that you love or you hate and you’re defined in a certain way as a kind of aesthetic being, and then you spend your life sort of working out those things, and trying to find yourself within that frame of influences.”</blockquote>

198 - Gregory Crewdson

Martin Parr

Martin Parr (born 23 May 1952), the man who the Daily Telegraph declared to be, “arguably Britain’s greatest living photographer” is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.His major projects have been rural communities (1975–1982), The Last Resort (1983–1985), The Cost of Living (1987–1989), Small World (1987–1994) and Common Sense (1995–1999). Since 1994, Martin has been a member of Magnum Photos, where he scraped in by one vote and where between 2013 and 2017 he served as President. His work has been published in numerous photobooks, over 120 of his own, and he has exhibited prolifically throughout his career.In 2017 the Martin Parr Foundation was opened in Bristol. The MPF is as a gallery and archive and research resource dedicated to both preserving the Martin’s photographic legacy and to supporting emerging, established and overlooked photographers who have made and continue to make work focused on the British Isles.Since his first A Small Voice appearance on Episode 91 of the podcast in October 2018, Martin has had a major exhibition at the National Portrait Gallery which opened in March 2019. Entitled Only Human, the show included portraits from around the world, with a special focus on Britishness, explored through a series of projects that investigated British identity. Also since that episode Martin was awarded a CBE in the Queen’s birthday honours in June, 2021.Martin’s latest book, A Year in the Life of Chew Stoke Village was released in September 2022 by RRB Books.On episode 197, Martin discusses, among other things:Influence of his methodist grandfather… and peers at ManchesterEarly experiences in Hebdon BridgeThe move to Ireland - From the Pope to a Flat WhiteLiverpool and the controversy around The Last Resort workBristol and Bath - The Cost of LivingBeing blown away by his first experience of ArlesJoining Magnum amidst disapproval from the old guardSmall WorldA Year in the Life of Chew Stoke VillageSigns of the TimesCommon SenseThe work of the Martin Parr FoundationGood work and bad workReferenced:Robert DoisneauBill BrandtRobert FrankGarry WinograndAlan MurgatroydBrian GriffinDaniel MeadowsAlbert Street WorkshopFintan O’ToolePeter FraserPeter MitchellTom WoodAnna FoxKen GrantDavid MooreJohn HindePhilip Jones GriffithsHenri Cartier-BressonBoris MikhailovKrass Clement Martin: Website | Instagram | Episode 91 | Chew Stoke bookMPF: Website | Instagram“Most of the pictures I take are very bad, because to get the good pictures is almost impossible. If you went out in the morning and said ‘today I’m only gonna take good pictures’ you wouldn’t get anywhere. You wouldn’t even start. So you’ve got to have that momentum of shooting, and you’ve got to have found the right subject, the right place, the right time, and then things will start to happen.”

Martin Parr (born 23 May 1952), the man who the Daily Telegraph declared to be, “arguably Britain’s greatest living photographer” is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.His major projects have been rural communities (1975–1982), The Last Resort (1983–1985), The Cost of Living (1987–1989), Small World (1987–1994) and Common Sense (1995–1999). Since 1994, Martin has been a member of Magnum Photos, where he scraped in by one vote and where between 2013 and 2017 he served as President. His work has been published in numerous photobooks, over 120 of his own, and he has exhibited prolifically throughout his career.In 2017 the <a href="https://www.martinparrfoundation.org/" rel="nofollow" target="_blank">Martin Parr Foundation</a> was opened in Bristol. The MPF is as a gallery and archive and research resource dedicated to both preserving the Martin’s photographic legacy and to supporting emerging, established and overlooked photographers who have made and continue to make work focused on the British Isles.Since his first A Small Voice appearance on <a href="https://bensmithphoto.squarespace.com/asmallvoice/tag/Martin%20Parr" rel="nofollow" target="_blank">Episode 91</a> of the podcast in October 2018, Martin has had a major exhibition at the National Portrait Gallery which opened in March 2019. Entitled Only Human, the show included portraits from around the world, with a special focus on Britishness, explored through a series of projects that investigated British identity. Also since that episode Martin was awarded a CBE in the Queen’s birthday honours in June, 2021.Martin’s latest book, <a href="https://www.martinparrfoundation.org/product/chew-stoke/" rel="nofollow" target="_blank">A Year in the Life of Chew Stoke Village</a> was released in September 2022 by <a href="https://www.rrbphotobooks.com/collections/martin-parr/products/martin-parr-chew-stoke?variant=41752333091016" rel="nofollow" target="_blank">RRB Books</a>. On episode 197, Martin discusses, among other things:<ul><li>Influence of his methodist grandfather… and peers at Manchester</li><li>Early experiences in Hebdon Bridge</li><li>The move to Ireland - From the Pope to a Flat White</li><li>Liverpool and the controversy around The Last Resort work</li><li>Bristol and Bath - The Cost of Living</li><li>Being blown away by his first experience of Arles</li><li>Joining Magnum amidst disapproval from the old guard</li><li>Small World</li><li><a href="https://www.martinparrfoundation.org/product/chew-stoke/" rel="nofollow" target="_blank">A Year in the Life of Chew Stoke Village</a></li><li>Signs of the Times</li><li>Common Sense</li><li>The work of the <a href="https://www.martinparrfoundation.org/" rel="nofollow" target="_blank">Martin Parr Foundation</a></li><li>Good work and bad work</li></ul>Referenced:<ul><li>Robert Doisneau</li><li>Bill Brandt</li><li>Robert Frank</li><li>Garry Winogrand</li><li>Alan Murgatroyd</li><li>Brian Griffin</li><li>Daniel Meadows</li><li>Albert Street Workshop</li><li>Fintan O’Toole</li><li>Peter Fraser</li><li>Peter Mitchell</li><li>Tom Wood</li><li>Anna Fox</li><li>Ken Grant</li><li>David Moore</li><li>John Hinde</li><li>Philip Jones Griffiths</li><li>Henri Cartier-Bresson</li><li><a href="https://en.wikipedia.org/wiki/Boris_Mikhailov_(photographer)" rel="nofollow" target="_blank">Boris Mikhailov</a></li><li>Krass Clement</li></ul> Martin: <a href="https://www.martinparr.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/martinparrstudio/" rel="nofollow" target="_blank">Instagram</a> | <a href="https://bensmithphoto.squarespace.com/asmallvoice/tag/Martin%20Parr" rel="nofollow" target="_blank">Episode 91</a> | <a href="https://www.rrbphotobooks.com/collections/martin-parr/products/martin-parr-chew-stoke?variant=41752333091016" rel="nofollow" target="_blank">Chew Stoke book</a> MPF: <a href="https://www.martinparrfoundation.org/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/martinparrfdn/" rel="nofollow" target="_blank">Instagram</a><blockquote>“Most of the pictures I take are very bad, because to get the good pictures is almost impossible. If you went out in the morning and said ‘today I’m only gonna take good pictures’ you wouldn’t get anywhere. You wouldn’t even start. So you’ve got to have that momentum of shooting, and you’ve got to have found the right subject, the right place, the right time, and then things will start to happen.”</blockquote>

197 - Martin Parr (#2)

Eugene Richards

Photographer, writer, and filmmaker, Eugene Richards, was born in Dorchester, Massachusetts in 1944. After graduating from Northeastern University with a degree in English, he studied photography with Minor White. In 1968, he joined VISTA, Volunteers in Service to America, a government program established as an arm of the so-called” War on Poverty.”  Following a year and a half in eastern Arkansas, Eugene helped found a social service organization and a community newspaper, Many Voices, which reported on black political action as well as the Ku Klux Klan.  Photographs he made during these four years were published in his first monograph, Few Comforts or Surprises: The Arkansas Delta.Upon returning to Dorchester, Eugene began to document the changing, racially diverse neighborhood where he was born.  After being invited to join Magnum Photos in 1978, he worked increasingly as a freelance magazine photographer, undertaking assignments on such diverse topics as the American family, drug addiction, emergency medicine, pediatric AIDS, aging and death in America.  In 1992, he directed and shot Cocaine True, Cocaine Blue, the first of seven short films he would eventually make.Eugene has authored sixteen books and his photographs have been collected into three comprehensive monographs. Exploding Into Life, which chronicles his first wife Dorothea Lynch’s struggle with breast cancer, received Nikon's Book of the Year award. For Below The Line: Living Poor in America, his documentation of urban and rural poverty, Eugene received an Infinity Award from the International Center of Photography. The Knife &amp; Gun Club: Scenes from an Emergency Room received an Award of Excellence from the American College of Emergency Physicians. Cocaine True, Cocaine Blue, an extensive reportorial on the effects of hardcore drug usage, received the Kraszna-Krausz Award for Photographic Innovation in Books. That same year, Americans We was the recipient of the International Center of Photography's Infinity Award for Best Photographic Book. In 2005, Pictures of the Year International chose The Fat Baby, an anthology of fifteen photographic essays, Best Book of the year. Eugene’s most recent books include The Blue Room, a study of abandoned houses in rural America; War Is Personal, an assessment in words and pictures of the human consequences of the Iraq war; and Red Ball of a Sun Slipping Down, a remembrance of life on the Arkansas Delta.Eugene has won just about every major award that exists for documentary photography including a Guggenheim Fellowship, the W. Eugene Smith Memorial Award, the Leica Medal of Excellence and the Leica Oskar Barnack Award, among many others.His new self-published book, In This Brief Life, due for release in September 2023, features over fifty years of mostly unseen photographs, from his earliest pictures of sharecropper life in the Arkansas Delta throughout his lifetime as a photographer. On episode 196, Eugene discusses, among other things:The recent political landscape in the USA.In This Brief Life - his forthcoming, Kickstarter funded book.Why he self-publishes books.His change of heart about the value of InstagramWhy going through his archive was an ‘obsessive experience’Being ‘out of touch with what journalism is’The Knife &amp; Gun Club: Scenes from an Emergency RoomTips on getting to know people on a storyBelow The Line: Living Poor in AmericaThe Blue RoomReturning to ArkansasDocumentary project Thy Kingom ComeCemetery projectExploding Into LifeMany VoicesWhy he left MagnumReferenced:Ed BarnesPeter HoweEugene Smith AwardDorothea LynchCornell CapaJohn MorrisHoward ChapnickJim Hughes, Camera ArtsMinor WhiteRoy DeCaravaWalker EvansFSABill BrandtWilliam KleinMike NicholsTerence MalickKoudelkaLeonard FreedReni BurriMary Ellen MarkNachtweySalgado Website | Instagram| New book“You’re sitting there with thirty or forty contacts books all over the floor, and you find yourself staying up late into the night thinking ‘there has to be something there’ and finding nothing at all. And the people on Instagram write to you and say, ‘oh my God, I’d love to look at your contact sheets’ and I tell them quite honestly, probably not, because they’re gonna disappoint the shit out of you!”

Photographer, writer, and filmmaker, Eugene Richards, was born in Dorchester, Massachusetts in 1944. After graduating from Northeastern University with a degree in English, he studied photography with Minor White. In 1968, he joined VISTA, Volunteers in Service to America, a government program established as an arm of the so-called” War on Poverty.”  Following a year and a half in eastern Arkansas, Eugene helped found a social service organization and a community newspaper, Many Voices, which reported on black political action as well as the Ku Klux Klan.  Photographs he made during these four years were published in his first monograph, <a href="https://eugenerichards.com/few-comforts-or-surprises" rel="nofollow" target="_blank">Few Comforts or Surprises: The Arkansas Delta</a>.Upon returning to Dorchester, Eugene began to document the changing, racially diverse neighborhood where he was born.  After being invited to join Magnum Photos in 1978, he worked increasingly as a freelance magazine photographer, undertaking assignments on such diverse topics as the American family, drug addiction, emergency medicine, pediatric AIDS, aging and death in America.  In 1992, he directed and shot Cocaine True, Cocaine Blue, the first of seven short films he would eventually make.Eugene has authored sixteen books and his photographs have been collected into three comprehensive monographs. <a href="https://eugenerichards.com/exploding-into-life" rel="nofollow" target="_blank">Exploding Into Life</a>, which chronicles his first wife Dorothea Lynch’s struggle with breast cancer, received Nikon's Book of the Year award. For <a href="https://eugenerichards.com/below-the-line" rel="nofollow" target="_blank">Below The Line: Living Poor in America</a>, his documentation of urban and rural poverty, Eugene received an Infinity Award from the International Center of Photography. <a href="https://eugenerichards.com/the-knife-and-gun-club" rel="nofollow" target="_blank">The Knife &amp; Gun Club: Scenes from an Emergency Room</a> received an Award of Excellence from the American College of Emergency Physicians. <a href="https://eugenerichards.com/cocaine-true-cocaine-blue" rel="nofollow" target="_blank">Cocaine True, Cocaine Blue</a>, an extensive reportorial on the effects of hardcore drug usage, received the Kraszna-Krausz Award for Photographic Innovation in Books. That same year, Americans We was the recipient of the International Center of Photography's Infinity Award for Best Photographic Book. In 2005, Pictures of the Year International chose <a href="https://eugenerichards.com/the-fat-baby" rel="nofollow" target="_blank">The Fat Baby</a>, an anthology of fifteen photographic essays, Best Book of the year. Eugene’s most recent books include <a href="https://eugenerichards.com/the-blue-room" rel="nofollow" target="_blank">The Blue Room</a>, a study of abandoned houses in rural America; <a href="https://eugenerichards.com/war-is-personal" rel="nofollow" target="_blank">War Is Personal</a>, an assessment in words and pictures of the human consequences of the Iraq war; and <a href="https://eugenerichards.com/red-ball-of-a-sun-slipping-down-1" rel="nofollow" target="_blank">Red Ball of a Sun Slipping Down</a>, a remembrance of life on the Arkansas Delta.Eugene has won just about every major award that exists for documentary photography including a Guggenheim Fellowship, the W. Eugene Smith Memorial Award, the Leica Medal of Excellence and the Leica Oskar Barnack Award, among many others.His new self-published book, <a href="https://eugenerichards.com/itbl-store/pre-order-in-this-brief-life" rel="nofollow" target="_blank">In This Brief Life</a>, due for release in September 2023, features over fifty years of mostly unseen photographs, from his earliest pictures of sharecropper life in the Arkansas Delta throughout his lifetime as a photographer. On episode 196, Eugene discusses, among other things:<ul><li>The recent political landscape in the USA.</li><li><a href="https://eugenerichards.com/itbl-store/pre-order-in-this-brief-life" rel="nofollow" target="_blank">In This Brief Life</a> - his forthcoming, <a href="https://www.kickstarter.com/projects/eugenerichards/in-this-brief-life" rel="nofollow" target="_blank">Kickstarter funded</a> book.</li><li>Why he self-publishes books.</li><li>His change of heart about the value of Instagram</li><li>Why going through his archive was an ‘obsessive experience’</li><li>Being ‘out of touch with what journalism is’</li><li><a href="https://eugenerichards.com/the-knife-and-gun-club" rel="nofollow" target="_blank">The Knife &amp; Gun Club: Scenes from an Emergency Room</a></li><li>Tips on getting to know people on a story</li><li><a href="https://eugenerichards.com/below-the-line" rel="nofollow" target="_blank">Below The Line: Living Poor in America</a></li><li><a href="https://eugenerichards.com/the-blue-room" rel="nofollow" target="_blank">The Blue Room</a></li><li>Returning to Arkansas</li><li>Documentary project <a href="https://eugenerichards.com/thykingdomcome" rel="nofollow" target="_blank">Thy Kingom Come</a></li><li>Cemetery project</li><li><a href="https://bensmithphoto.squarespace.com/asmallvoice/Exploding%20Into%20Life" rel="nofollow" target="_blank">Exploding Into Life</a></li><li>Many Voices</li><li>Why he left Magnum</li></ul>Referenced:<ul><li>Ed Barnes</li><li>Peter Howe</li><li>Eugene Smith Award</li><li>Dorothea Lynch</li><li>Cornell Capa</li><li>John Morris</li><li>Howard Chapnick</li><li>Jim Hughes, Camera Arts</li><li>Minor White</li><li>Roy DeCarava</li><li>Walker Evans</li><li>FSA</li><li>Bill Brandt</li><li>William Klein</li><li>Mike Nichols</li><li>Terence Malick</li><li>Koudelka</li><li>Leonard Freed</li><li>Reni Burri</li><li>Mary Ellen Mark</li><li>Nachtwey</li><li>Salgado</li></ul> <a href="https://eugenerichards.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/eugenerichardsphotography/" rel="nofollow" target="_blank">Instagram</a>| <a href="https://eugenerichards.com/itbl-store" rel="nofollow" target="_blank">New book</a><blockquote>“You’re sitting there with thirty or forty contacts books all over the floor, and you find yourself staying up late into the night thinking ‘there has to be something there’ and finding nothing at all. And the people on Instagram write to you and say, ‘oh my God, I’d love to look at your contact sheets’ and I tell them quite honestly, probably not, because they’re gonna disappoint the shit out of you!”</blockquote>

196 - Eugene Richards

Aaron Schuman

Aaron Schuman is an American photographer, writer, curator and educator based in the UK. He received a BFA in Photography and History of Art from New York University's Tisch School of the Arts in 1999, and an MA in Humanities and Cultural Studies from the University of London: London Consortium at Birkbeck College in 2003.Aaron is the author of several critically-acclaimed monographs: Sonata, published by Mack in the summer of 2022; Slant, published by Mack, which was cited as one of 2019's "Best Photobooks" by numerous photographers, critics and publications, and Folk, published by NB Books, which also was cited as one of 2016's "Best Photobooks" by numerous people, and was long-listed for the Deutsche Börse Photography Prize 2017. His work has been exhibited internationally and is held in many public and private collections.In addition to to his own photographic work, Aaron has contributed essays, interviews, texts and photographs to many other books and monographs. He has also written and photographed for a wide variety of journals, magazines and publications, such as Aperture, Foam, ArtReview, Frieze, Magnum Online, Hotshoe, The British Journal of Photography and more.Aaron has curated several major international festivals and exhibitions, was the founder and editor of the online photography journal, SeeSaw Magazine (2004-2014) and is Associate Professor in Photography and Visual Culture, and the founder and Programme Leader of the MA/Masters in Photography programme, at the University of the West of England (UWE Bristol).On episode 195, Aaron discusses, among other things:SeeSaw MagazineHow he fell into curating……And then teachingEarly interest in documentary photographyWriting to Richard AvedonTakeaways from working for Annie LeibowitzImpact of Wolgang Tilmans Turner Prize show……And the experience of printing for himHow his writing had an important influence on his photographyGetting the balance backFirst book, FolkSlantSonata - trying to see the world through clear, fresh eyes Referenced:Richard AvedonAnnie LeibowitzWolgang TilmansCartier BressonBruce Davidson“I’m not interested in necessarily making explicitly autobiographical work in a kind of diaristic sense, but I am interested in infusing what I do with something that’s coming from me. It’s a question I ask my students all the time, you know, ‘this is a really good idea for a project but why are you the person to make this project? What do you have to bring to this?’ Because, yes, the subject matter itself might be compelling but if you’re just doing it in the way that I did with the Tibetan monks, that it’s been done a million times before, it’s not addding anything to the culture - we already have those pictures.”

Aaron Schuman is an American photographer, writer, curator and educator based in the UK. He received a BFA in Photography and History of Art from New York University's Tisch School of the Arts in 1999, and an MA in Humanities and Cultural Studies from the University of London: London Consortium at Birkbeck College in 2003.Aaron is the author of several critically-acclaimed monographs: <a href="https://www.aaronschuman.com/sonatapages/sonata01.html" rel="nofollow" target="_blank">Sonata</a>, published by Mack in the summer of 2022; <a href="https://www.aaronschuman.com/slantpages/slant01.html" rel="nofollow" target="_blank">Slant</a>, published by Mack, which was cited as one of 2019's "Best Photobooks" by numerous photographers, critics and publications, and <a href="https://www.aaronschuman.com/folkpages/folk01.html" rel="nofollow" target="_blank">Folk</a>, published by NB Books, which also was cited as one of 2016's "Best Photobooks" by numerous people, and was long-listed for the Deutsche Börse Photography Prize 2017. His work has been exhibited internationally and is held in many public and private collections.In addition to to his own photographic work, Aaron has contributed essays, interviews, texts and photographs to many other books and monographs. He has also written and photographed for a wide variety of journals, magazines and publications, such as Aperture, Foam, ArtReview, Frieze, Magnum Online, Hotshoe, The British Journal of Photography and more.Aaron has curated several major international festivals and exhibitions, was the founder and editor of the online photography journal, SeeSaw Magazine (2004-2014) and is Associate Professor in Photography and Visual Culture, and the founder and Programme Leader of the MA/Masters in Photography programme, at the University of the West of England (UWE Bristol).On episode 195, Aaron discusses, among other things:<ul><li><a href="http://www.seesawmagazine.com/" rel="nofollow" target="_blank">SeeSaw Magazine</a></li><li>How he fell into curating…</li><li>…And then teaching</li><li>Early interest in documentary photography</li><li>Writing to Richard Avedon</li><li>Takeaways from working for Annie Leibowitz</li><li>Impact of Wolgang Tilmans Turner Prize show…</li><li>…And the experience of printing for him</li><li>How his writing had an important influence on his photography</li><li>Getting the balance back</li><li>First book, <a href="https://www.aaronschuman.com/folkpages/folk01.html" rel="nofollow" target="_blank">Folk</a></li><li><a href="https://www.aaronschuman.com/slantpages/slant01.html" rel="nofollow" target="_blank">Slant</a></li><li><a href="https://www.aaronschuman.com/sonatapages/sonata01.html" rel="nofollow" target="_blank">Sonata</a> - trying to see the world through clear, fresh eyes</li></ul> Referenced:<ul><li>Richard Avedon</li><li>Annie Leibowitz</li><li>Wolgang Tilmans</li><li>Cartier Bresson</li><li>Bruce Davidson</li></ul><blockquote>“I’m not interested in necessarily making explicitly autobiographical work in a kind of diaristic sense, but I am interested in infusing what I do with something that’s coming from me. It’s a question I ask my students all the time, you know, ‘this is a really good idea for a project but why are you the person to make this project? What do you have to bring to this?’ Because, yes, the subject matter itself might be compelling but if you’re just doing it in the way that I did with the Tibetan monks, that it’s been done a million times before, it’s not addding anything to the culture - we already have those pictures.”</blockquote>

195 - Aaron Schuman

Featuring:Alison McCauleyRobert GumpertMimi PlumbPeter FraserEva VoutsakiJem SouthamPatrick BrownAlba ZariPradip MaldeLewis BushGreg WilliamsJoanne CoatesRich Joseph-FacunSam JonesBryan SchutmaatKavi PujaraBen BrodyAnastasia SamoylovaStephen ShorePaddy Summerfield

Featuring:<ul><li>Alison McCauley</li><li>Robert Gumpert</li><li>Mimi Plumb</li><li>Peter Fraser</li><li>Eva Voutsaki</li><li>Jem Southam</li><li>Patrick Brown</li><li>Alba Zari</li><li>Pradip Malde</li><li>Lewis Bush</li><li>Greg Williams</li><li>Joanne Coates</li><li>Rich Joseph-Facun</li><li>Sam Jones</li><li>Bryan Schutmaat</li><li>Kavi Pujara</li><li>Ben Brody</li><li>Anastasia Samoylova</li><li>Stephen Shore</li><li>Paddy Summerfield</li></ul>

194 - The Year In Review 2022

Paddy Summerfield

Paddy Summerfield (born 1947) is a British fine art photographer who has lived and worked in Oxford in the UK all his life. Paddy is known for his evocative series’ of black and white images, shot on 35mm film, which co-opt the traditional genre of documentary photography to realise a more personal and inward looking vision. He has said his photographs are exclusively about abandonment and loss.After taking an Art Foundation course at the Oxford Polytechnic, Summerfield attended Guildford School of Art, studying firstly in the Photography Department, then joining the Film department the following year. In 1967, when still a first-year student, he made photographs that appeared in 1970 in Bill Jay's magazine Album. Between 1968 and 1978, Paddy documented Oxford University students in the summer terms. His pictures published in Creative Camera, and on its cover in January 1974, were recognised as psychological and expressionist, unusual in an era of journalistic and documentary photography. Throughout his life, Paddy has focused on making photographic essays that are personal documents. From 1997 to 2007 he photographed his parents, his mother with Alzheimer's disease and his father caring for her. A book of the work entitled Mother and Father was published by Dewi Lewis, as have been all of Paddy’s other books: Empty Days, The Holiday Pictures, Home Movie and The Oxford Pictures.Next Spring there will be an exhibition at North Wall as part of the Photo Oxford Festival (April 18 - 7 May 2023) of Pictures From The Garden a project in which seven photographers - Vanessa Winship, Alys Tomlinson, Matthew Finn, Nik Roche, Sian Davey, Jem Southam and Alex Schneideman - have made work in response to Paddy’s Mother and Father project, with a corresponding book published by, of course, Dewi Lewis. On episode 193, Paddy discusses, among other things:The current Pictures From The Garden projectMother and Father ‘proper work’Early years: sister and boarding schoolAbandonment and loss but always ending on hopeAll his books being autobiograhicalOxford PicturesEmpty DaysDocumentary - personal documentSeaside photographs Referenced:Gerry BadgerAshmolean MuseumDewi LewisSamuel PalmerSir Nick Serota Website | Instagram“You try and capture the world don’t you? You try and hold on to something. But it’s more than that - you want to capture an emotion, something that’s strong and lingering and grabbing hold of your interior life. I think that’s what I do, that’s what I WANT to do - create the emotion.”

Paddy Summerfield (born 1947) is a British fine art photographer who has lived and worked in Oxford in the UK all his life. Paddy is known for his evocative series’ of black and white images, shot on 35mm film, which co-opt the traditional genre of documentary photography to realise a more personal and inward looking vision. He has said his photographs are exclusively about abandonment and loss.After taking an Art Foundation course at the Oxford Polytechnic, Summerfield attended Guildford School of Art, studying firstly in the Photography Department, then joining the Film department the following year. In 1967, when still a first-year student, he made photographs that appeared in 1970 in Bill Jay's magazine Album. Between 1968 and 1978, Paddy documented Oxford University students in the summer terms. His pictures published in Creative Camera, and on its cover in January 1974, were recognised as psychological and expressionist, unusual in an era of journalistic and documentary photography. Throughout his life, Paddy has focused on making photographic essays that are personal documents. From 1997 to 2007 he photographed his parents, his mother with Alzheimer's disease and his father caring for her. A book of the work entitled Mother and Father was published by Dewi Lewis, as have been <a href="https://www.dewilewis.com/search?type=products&amp;q=paddy%20summerfield*" rel="nofollow" target="_blank">all of Paddy’s other books</a>: Empty Days, The Holiday Pictures, Home Movie and The Oxford Pictures.Next Spring there will be an exhibition at North Wall as part of the Photo Oxford Festival (April 18 - 7 May 2023) of Pictures From The Garden a project in which seven photographers - Vanessa Winship, Alys Tomlinson, Matthew Finn, Nik Roche, Sian Davey, Jem Southam and Alex Schneideman - have made work in response to Paddy’s Mother and Father project, with a corresponding book published by, of course, Dewi Lewis. On episode 193, Paddy discusses, among other things:<ul><li>The current Pictures From The Garden project</li><li>Mother and Father ‘proper work’</li><li>Early years: sister and boarding school</li><li>Abandonment and loss but always ending on hope</li><li>All his books being autobiograhical</li><li>Oxford Pictures</li><li>Empty Days</li><li>Documentary - personal document</li><li>Seaside photographs</li></ul> Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Gerry_Badger" rel="nofollow" target="_blank">Gerry Badger</a></li><li><a href="https://en.wikipedia.org/wiki/Ashmolean_Museum" rel="nofollow" target="_blank">Ashmolean Museum</a></li><li><a href="https://en.wikipedia.org/wiki/Dewi_Lewis" rel="nofollow" target="_blank">Dewi Lewis</a></li><li><a href="https://en.wikipedia.org/wiki/Samuel_Palmer" rel="nofollow" target="_blank">Samuel Palmer</a></li><li><a href="https://en.wikipedia.org/wiki/Nicholas_Serota" rel="nofollow" target="_blank">Sir Nick Serota</a></li><li> </li></ul><a href="https://www.paddysummerfield.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/paddysummerfield/" rel="nofollow" target="_blank">Instagram</a><blockquote>“You try and capture the world don’t you? You try and hold on to something. But it’s more than that - you want to capture an emotion, something that’s strong and lingering and grabbing hold of your interior life. I think that’s what I do, that’s what I WANT to do - create the emotion.”</blockquote>

193 - Paddy Summerfield

Stephen Shore's work has been widely published and exhibited for the past forty-five years. He was the first living photographer to have a one-man show at the Metropolitan Museum of Art in New York since Alfred Stieglitz, forty years earlier. He has also had one-man shows at George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago. In 2017, the Museum of Modern Art opened a major retrospective spanning Stephen Shore's entire career. He has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in color photography and in the use of the view camera for documentary work.More than 25 books have been published of Stephen Shore's photographs including Uncommon Places: The Complete Works; American Surfaces; Stephen Shore, a retrospective monograph in Phaidon's Contemporary Artists series; Stephen Shore: Survey and most recently, Transparencies: Small Camera Works 1971-1979 and Stephen Shore: Elements. In 2017, the Museum of Modern Art published Stephen Shore in conjunction with their retrospective of his photographic career.Stephen also wrote The Nature of Photographs, published by Phaidon Press, which addresses how a photograph functions visually. His work is represented by 303 Gallery, New York; and Sprüth Magers, London and Berlin. Since 1982 he has been the director of the Photography Program at Bard College, NY, where he is the Susan Weber Professor in the Arts.His new book, Modern Instances: The Craft of Photography. A Memoir, was published by Mack Books in 2021. On episode 192, Stephen discusses, among other things:How the new book came aboutHow it differs from previous book, The Nature of Photographs.Artist’s superstition over discussing the creative processThe importance of experimentationShowing and not explainingPhotography as a ‘generous medium’Creating the book as an ‘experience’Structure vs. compositionInclusion vs. exclusionMastering the discipline - 3 phasesDoes he believe in The Muse?Being attentive in the midst of lifeWorking with a performance coachThe influence of paintings… and Walker EvansThe nature (and importance) of ambitionGetting a solo show at The Met, aged 23Sustaining driveHis interest in drone photography… and InstagramThe day he realised the 8x10 camera was for himReferenced:The Nature of PhotographsLee FriedlanderGarry WinograndBruno BettelheimRichard AvedonJerry GoldsmithGregory CrewdsonGeorge EliotWalker EvansWebsite | Instagram | Interview with David Campany“To look at something completely ordinary, what you see day to day in your life, and pay attention to it, that’s what interests me. And just from years of trying it and doing it, I feel like it provides a certain kind of food for people, that it’s nourishing.”

Stephen Shore's work has been widely published and exhibited for the past forty-five years. He was the first living photographer to have a one-man show at the Metropolitan Museum of Art in New York since Alfred Stieglitz, forty years earlier. He has also had one-man shows at George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago. In 2017, the Museum of Modern Art opened a major retrospective spanning Stephen Shore's entire career. He has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in color photography and in the use of the view camera for documentary work.More than 25 books have been published of Stephen Shore's photographs including Uncommon Places: The Complete Works; American Surfaces; Stephen Shore, a retrospective monograph in Phaidon's Contemporary Artists series; Stephen Shore: Survey and most recently, Transparencies: Small Camera Works 1971-1979 and Stephen Shore: Elements. In 2017, the Museum of Modern Art published Stephen Shore in conjunction with their retrospective of his photographic career.Stephen also wrote <a href="https://www.phaidon.com/store/photography/the-nature-of-photographs-9780714859040/" rel="nofollow" target="_blank">The Nature of Photographs</a>, published by Phaidon Press, which addresses how a photograph functions visually. His work is represented by 303 Gallery, New York; and Sprüth Magers, London and Berlin. Since 1982 he has been the director of the Photography Program at Bard College, NY, where he is the Susan Weber Professor in the Arts.His new book, <a href="https://mackbooks.co.uk/collections/frontpage/products/modern-instances-the-craft-of-photography-br-stephen-shore" rel="nofollow" target="_blank">Modern Instances: The Craft of Photography. A Memoir</a>, was published by Mack Books in 2021. On episode 192, Stephen discusses, among other things:<ul><li>How the new book came about</li><li>How it differs from previous book, <a href="https://www.phaidon.com/store/photography/the-nature-of-photographs-9780714859040/" rel="nofollow" target="_blank">The Nature of Photographs</a>.</li><li>Artist’s superstition over discussing the creative process</li><li>The importance of experimentation</li><li>Showing and not explaining</li><li>Photography as a ‘generous medium’</li><li>Creating the book as an ‘experience’</li><li>Structure vs. composition</li><li>Inclusion vs. exclusion</li><li>Mastering the discipline - 3 phases</li><li>Does he believe in The Muse?</li><li>Being attentive in the midst of life</li><li>Working with a performance coach</li><li>The influence of paintings… and Walker Evans</li><li>The nature (and importance) of ambition</li><li>Getting a solo show at The Met, aged 23</li><li>Sustaining drive</li><li>His interest in drone photography… and Instagram</li><li>The day he realised the 8x10 camera was for him</li></ul>Referenced:<ul><li><a href="https://www.phaidon.com/store/photography/the-nature-of-photographs-9780714859040/" rel="nofollow" target="_blank">The Nature of Photographs</a></li><li><a href="https://en.wikipedia.org/wiki/Lee_Friedlander" rel="nofollow" target="_blank">Lee Friedlander</a></li><li><a href="https://en.wikipedia.org/wiki/Garry_Winogrand" rel="nofollow" target="_blank">Garry Winogrand</a></li><li><a href="https://en.wikipedia.org/wiki/Bruno_Bettelheim" rel="nofollow" target="_blank">Bruno Bettelheim</a></li><li><a href="https://en.wikipedia.org/wiki/Richard_Avedon" rel="nofollow" target="_blank">Richard Avedon</a></li><li><a href="https://en.wikipedia.org/wiki/Jerry_Goldsmith" rel="nofollow" target="_blank">Jerry Goldsmith</a></li><li><a href="https://en.wikipedia.org/wiki/Gregory_Crewdson" rel="nofollow" target="_blank">Gregory Crewdson</a></li><li><a href="https://en.wikipedia.org/wiki/George_Eliot" rel="nofollow" target="_blank">George Eliot</a></li><li><a href="https://en.wikipedia.org/wiki/Walker_Evans" rel="nofollow" target="_blank">Walker Evans</a></li></ul><a href="http://stephenshore.net/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/stephen.shore/" rel="nofollow" target="_blank">Instagram</a> | <a href="http://stephenshore.net/press/campany.pdf" rel="nofollow" target="_blank">Interview with David Campany</a><blockquote>“To look at something completely ordinary, what you see day to day in your life, and pay attention to it, that’s what interests me. And just from years of trying it and doing it, I feel like it provides a certain kind of food for people, that it’s nourishing.”</blockquote>

192 - Stephen Shore

Anastasia Samoylova

Anastasia Samoylova (b. 1984, USSR) is an American artist who moves between observational photography and studio practice. Her work explores notions of environmentalism, consumerism and the picturesque.Recent exhibitions include Eastman Museum; Chrysler Museum of Art; The Photographer's Gallery; Kunst Haus Wien; HistoryMiami Museum; and Museum of Fine Arts, Le Locle.In 2022 Anastasia was shortlisted for the Deutsche Börse Photography Foundation Prize. Her work is in the collections at the Perez Art Museum Miami and Museum of Contemporary Photography Chicago, among others.Published monographs include Floridas (Steidl, 2022) and FloodZone (Steidl, 2019), with her latest work, Image Cities, forthcoming as a book and exhibition in 2023.On episode 191, Anastasia discusses, among other things:Recent hurricaneForthcoming book and exhibition project, Image CitiesHer abiding interest in collageAdding vs. reducing - abstracting the worldFlorida and her FloodZone bookHer perspective on the climate emergency: alarmist but not defeatistWhy she ended up living in MiamiHow she came to start making picturesThe distinctive Florida colour paletteThe Floridas bookClimate anxiety - and other typesHaving a strong work ethicReferenced:Stephen ShoreEugène AtgetJacques TatiMies van der RoheAnsel AdamsWalker EvansDavid CampanyAlec SothWilliam EgglestonAlexander RodchenkoVarvara Stepanova Website | Instagram “The key impulse here is the sense of gratitude for being able to do what I’ve always known I wanted to do, and feeling zero entitlement to this. It’s an immense privilege to be in this line of work.”

Anastasia Samoylova (b. 1984, USSR) is an American artist who moves between observational photography and studio practice. Her work explores notions of environmentalism, consumerism and the picturesque.Recent exhibitions include Eastman Museum; Chrysler Museum of Art; The Photographer's Gallery; Kunst Haus Wien; HistoryMiami Museum; and Museum of Fine Arts, Le Locle.In 2022 Anastasia was shortlisted for the Deutsche Börse Photography Foundation Prize. Her work is in the collections at the Perez Art Museum Miami and Museum of Contemporary Photography Chicago, among others.Published monographs include <a href="https://steidl.de/Books/Floridas-0208222457.html#header-stage-carousel" rel="nofollow" target="_blank">Floridas</a> (Steidl, 2022) and <a href="https://steidl.de/Books/FloodZone-3132344254.html?SID=f5Tid5x0c128" rel="nofollow" target="_blank">FloodZone</a> (Steidl, 2019), with her latest work, <a href="https://www.anasamoylova.com/projects#/imagecities/" rel="nofollow" target="_blank">Image Cities</a>, forthcoming as a book and exhibition in 2023. On episode 191, Anastasia discusses, among other things:<ul><li>Recent hurricane</li><li>Forthcoming book and exhibition project, <a href="https://www.anasamoylova.com/projects#/imagecities/" rel="nofollow" target="_blank">Image Cities</a></li><li>Her abiding interest in collage</li><li>Adding vs. reducing - abstracting the world</li><li>Florida and her <a href="https://steidl.de/Books/FloodZone-3132344254.html?SID=f5Tid5x0c128" rel="nofollow" target="_blank">FloodZone</a> book</li><li>Her perspective on the climate emergency: alarmist but not defeatist</li><li>Why she ended up living in Miami</li><li>How she came to start making pictures</li><li>The distinctive Florida colour palette</li><li>The <a href="https://steidl.de/Books/Floridas-0208222457.html#header-stage-carousel" rel="nofollow" target="_blank">Floridas</a> book</li><li>Climate anxiety - and other types</li><li>Having a strong work ethic</li></ul>Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/Stephen_Shore" rel="nofollow" target="_blank">Stephen Shore</a></li><li><a href="https://en.wikipedia.org/wiki/Eug%C3%A8ne_Atget" rel="nofollow" target="_blank">Eugène Atget</a></li><li><a href="https://en.wikipedia.org/wiki/Jacques_Tati" rel="nofollow" target="_blank">Jacques Tati</a></li><li><a href="https://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe" rel="nofollow" target="_blank">Mies van der Rohe</a></li><li><a href="https://en.wikipedia.org/wiki/Ansel_Adams" rel="nofollow" target="_blank">Ansel Adams</a></li><li><a href="https://en.wikipedia.org/wiki/Walker_Evans" rel="nofollow" target="_blank">Walker Evans</a></li><li><a href="https://en.wikipedia.org/wiki/David_Campany" rel="nofollow" target="_blank">David Campany</a></li><li><a href="https://en.wikipedia.org/wiki/Alec_Soth" rel="nofollow" target="_blank">Alec Soth</a></li><li><a href="https://en.wikipedia.org/wiki/William_Eggleston" rel="nofollow" target="_blank">William Eggleston</a></li><li><a href="https://en.wikipedia.org/wiki/Alexander_Rodchenko" rel="nofollow" target="_blank">Alexander Rodchenko</a></li><li><a href="https://en.wikipedia.org/wiki/Varvara_Stepanova" rel="nofollow" target="_blank">Varvara Stepanova</a></li></ul> <a href="https://www.anasamoylova.com/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/anasamoylova/" rel="nofollow" target="_blank">Instagram</a> <blockquote>“The key impulse here is the sense of gratitude for being able to do what I’ve always known I wanted to do, and feeling zero entitlement to this. It’s an immense privilege to be in this line of work.”</blockquote>

191 - Anastasia Samoylova

Awesome insights into the creative mind

Ben, is doing an amazing and I think seriously important history of great photographers.

Photographer

Fortnightly in-depth interviews featuring a diverse range of talented, innovative, world-class photographers from established, award-winning and internationally exhibited stars to young and emerging talents discussing their lives, work and process with fellow photographer, Ben Smith. TO ACCESS THE FULL ACHIVE SIGN UP AS A MEMBER AT POD.FAN!

A Small Voice: Conversations With Photographers

Ed Panar

American photographer Ed Panar has a BA from the Indiana University of Pennsylvania and an MFA from the Cranbrook Academy of Art in Michigan. He has published several photobooks including: In the Vicinity  (Deadbeat Club, 2018), Animals That Saw Me Volume One and Volume Two (2011 and 2016, The Ice Plant), Nothing Changes If Nothing Changes (Spaces Corners &amp; The Ice Plant, 2013), Salad Days (2012 Gottlund), Same Difference (2010, Gottlund), and Golden Palms (2007, J&amp;L Books). Ed “is a compiler of small moments, a celebrant of the everyday. Nothing dramatic happens in his photographs; nowhere exotic is shown. Rather, his prosaic images force us into a sustained encounter with the ordinariness of urban life, bringing together both meanings of the word pedestrian. In his ongoing body of work Out West, Panar reveals the fluidity of the interaction between the banal and the beautiful. (Panar also has a series, Back East, that produces a similar effect.) Some of the photos do indeed display the striking beauty of Western landscapes, but even this is contained within the bounds of ordinary life: Panar’s views are the kind you might have walking home from somewhere not far away, if you were to take that little detour that goes up the hill just a bit. We are a long way here from the majestic waterfalls and granite domes in Ansel Adams’s work. Panar’s photos seem to be saying that if we pay attention there is no need to venture far and wide, to scale the peaks or traverse the wilds — that something of value is just around the next corner.” (Aaron Rothman) Ed’s photographs have been widely exhibited at venues including The Museum of Contemporary Photography, Chicago, The New York Photography Festival, the Cleveland Museum of Art and Pier 24 Photography in San Francisco. Ed is co-founder - with his partner, photographer Melissa Catanese - of the project space and photography bookshop Spaces Corners, Pittsburgh, Pennsylvania where he currently lives and works. On episode 109, Ed discusses, among other things:  Learning from Todd Hido in San Francisco Figuring out how to keep going no matter what Walking Home - his first series, still not a book Golden Palms The importance of editing and how it starts while shooting Animals That Saw Me Volume One and Volume Two His interest in speculative realism The importance of walking… and humour In the Vicinity  HIs project space in Pittsburgh, Spaces Corners  Referenced:  Todd Hido Chris McCall Wolfgang Tillmans (Burg) Nick Waplington William Eggleston Clint Woodside  Website | Instagram | Spaces Corners “If I’ve figured anything out it’s how to kinda keep going no matter what. And I think maybe Todd [Hido] instilled that in me, that sort of work ethic. You have to get it done. You have to find a way. Make things now, ask questions later, kind of thing.”

American photographer Ed Panar has a BA from the Indiana University of Pennsylvania and an MFA from the Cranbrook Academy of Art in Michigan. He has published several photobooks including: <a href="http://www.edpanar.com/ITV_book.html" rel="nofollow" target="_blank">In the Vicinity </a> (Deadbeat Club, 2018), <a href="http://www.edpanar.com/ATSM_book.html" rel="nofollow" target="_blank">Animals That Saw Me Volume One and Volume Two</a> (2011 and 2016, The Ice Plant), <a href="http://www.edpanar.com/book_NCINC.html" rel="nofollow" target="_blank">Nothing Changes If Nothing Changes</a> (Spaces Corners &amp; The Ice Plant, 2013), <a href="http://www.edpanar.com/sdv1_.html" rel="nofollow" target="_blank">Salad Days</a> (2012 Gottlund), <a href="http://www.edpanar.com/sd_.html" rel="nofollow" target="_blank">Same Difference</a> (2010, Gottlund), and <a href="http://www.edpanar.com/gp_book_.html" rel="nofollow" target="_blank">Golden Palms</a> (2007, J&amp;L Books). Ed “is a compiler of small moments, a celebrant of the everyday. Nothing dramatic happens in his photographs; nowhere exotic is shown. Rather, his prosaic images force us into a sustained encounter with the ordinariness of urban life, bringing together both meanings of the word pedestrian. In his ongoing body of work Out West, Panar reveals the fluidity of the interaction between the banal and the beautiful. (Panar also has a series, Back East, that produces a similar effect.) Some of the photos do indeed display the striking beauty of Western landscapes, but even this is contained within the bounds of ordinary life: Panar’s views are the kind you might have walking home from somewhere not far away, if you were to take that little detour that goes up the hill just a bit. We are a long way here from the majestic waterfalls and granite domes in Ansel Adams’s work. Panar’s photos seem to be saying that if we pay attention there is no need to venture far and wide, to scale the peaks or traverse the wilds — that something of value is just around the next corner.” (<a href="https://placesjournal.org/author/aaron-rothman/" rel="nofollow" target="_blank">Aaron Rothman</a>) Ed’s photographs have been widely exhibited at venues including The Museum of Contemporary Photography, Chicago, The New York Photography Festival, the Cleveland Museum of Art and Pier 24 Photography in San Francisco. Ed is co-founder - with his partner, photographer <a href="http://melissacatanese.com" rel="nofollow" target="_blank">Melissa Catanese </a>- of the project space and photography bookshop <a href="http://www.spacescorners.com" rel="nofollow" target="_blank">Spaces Corners</a>, Pittsburgh, Pennsylvania where he currently lives and works. On episode 109, Ed discusses, among other things: <ul> <li>Learning from Todd Hido in San Francisco</li> <li>Figuring out how to keep going no matter what</li> <li>Walking Home - his first series, still not a book</li> <li><a href="http://www.edpanar.com/gp_book_.html" rel="nofollow" target="_blank">Golden Palms</a></li> <li>The importance of editing and how it starts while shooting</li> <li><a href="http://www.edpanar.com/ATSM_book.html" rel="nofollow" target="_blank">Animals That Saw Me Volume One and Volume Two</a></li> <li>His interest in speculative realism</li> <li>The importance of walking… and humour</li> <li><a href="http://www.edpanar.com/ITV_book.html" rel="nofollow" target="_blank">In the Vicinity </a></li> <li>HIs project space in Pittsburgh, <a href="http://www.spacescorners.com" rel="nofollow" target="_blank">Spaces Corners</a></li> </ul> Referenced: <ul> <li><a href="https://bensmithphoto.com/asmallvoice/todd-hido" rel="nofollow" target="_blank">Todd Hido</a></li> <li><a href="https://pier24.org/about/" rel="nofollow" target="_blank">Chris McCall</a></li> <li><a href="http://www.tillmans.co.uk/all-books/46-wolfgang-tillmans-burg-1998" rel="nofollow" target="_blank">Wolfgang Tillmans (Burg)</a></li> <li><a href="https://en.wikipedia.org/wiki/Nick_Waplington" rel="nofollow" target="_blank">Nick Waplington</a></li> <li><a href="https://en.wikipedia.org/wiki/William_Eggleston" rel="nofollow" target="_blank">William Eggleston</a></li> <li><a href="http://www.clintwoodside.com" rel="nofollow" target="_blank">Clint Woodside</a></li> </ul> <a href="http://www.edpanar.com/index.html" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/edpanar/" rel="nofollow" target="_blank">Instagram</a> | <a href="http://www.spacescorners.com" rel="nofollow" target="_blank">Spaces Corners</a> “If I’ve figured anything out it’s how to kinda keep going no matter what. And I think maybe Todd [Hido] instilled that in me, that sort of work ethic. You have to get it done. You have to find a way. Make things now, ask questions later, kind of thing.”

109 - Ed Panar

Mark Steinmetz

Mark Steinmetz is an American photographer who makes black and white photographs "of ordinary people in the ordinary landscapes they inhabit” and "in the midst of activity”. His work is held in the collections of the Art Institute of Chicago, the Hunter Museum of American Art, the Metropolitan Museum of Art, and the New York Museum of Contemporary Photography, to name but a few. He is the recipient of numerous awards including a Guggenheim Fellowship and his work has been exhibited in too many major museums and art galleries to list. He has produced 15 photobooks, such as South Central (2007), The Players (2015), Fifteen Miles to K-Ville (2015) and the Angel City West trilogy. Mark was born in New York City and raised in the Boston-area suburbs until he was 12 at which point he moved to the midwest. At age 21 he moved to New England to study photography at Yale School of Art in New Haven, Connecticut. He left that MFA program after one semester and in mid 1983, aged 22, moved to Los Angeles in search of the photographer Garry Winogrand, whom he befriended. In 1999 he moved to Athens, Georgia where he still lives, with his wife, photographer Irina Rozovsky, and their young daughter. On episode 112, Mark discusses, among other things:  Delving into the archive Angel City West First darkroom in Iowa Going to L.A. and meeting Winogrand Earning a living MOMA show Bring drawn to The South and shooting there Why he works in B&amp;W His aesthetic and why he still prints his own work Meditation and avoiding distractions  Referenced:  Henry Wessel Garry Winogrand Robert Frank Walker Evans David M. Spear - The Neugents Robert Adams Lee Friedlander Todd Pagageorge André Kertesz  Website “There’s this beautiful thing and it’s the main thing and it’s the important thing and sometimes perfectionism can just cripple that. You know, why is one picture alive and another dead? And often it’s just, who wants something perfect, you know? It doesn’t ring true really. So I do like some sloppiness but I try to be smart about it.”

Mark Steinmetz is an American photographer who makes black and white photographs "of ordinary people in the ordinary landscapes they inhabit” and "in the midst of activity”. His work is held in the collections of the Art Institute of Chicago, the Hunter Museum of American Art, the Metropolitan Museum of Art, and the New York Museum of Contemporary Photography, to name but a few. He is the recipient of numerous awards including a Guggenheim Fellowship and his work has been exhibited in too many major museums and art galleries to list. He has produced 15 photobooks, such as <a href="https://en.wikipedia.org/wiki/Walker_Evanshttps://www.youtube.com/watch?v=mGWVWHnsyrc" rel="nofollow" target="_blank">South Central</a> (2007), <a href="https://www.nazraeli.com/complete-catalogue/mark-steinmetz-the-players" rel="nofollow" target="_blank">The Players</a> (2015), <a href="https://www.stanleybarker.co.uk/collections/books/products/fifteen-miles-to-k-ville-mark-steinmetz" rel="nofollow" target="_blank">Fifteen Miles to K-Ville</a> (2015) and the <a href="https://www.nazraeli.com/complete-catalogue/mark-steinmetz-angel-city-west-from-set-two" rel="nofollow" target="_blank">Angel City West </a>trilogy. Mark was born in New York City and raised in the Boston-area suburbs until he was 12 at which point he moved to the midwest. At age 21 he moved to New England to study photography at Yale School of Art in New Haven, Connecticut. He left that MFA program after one semester and in mid 1983, aged 22, moved to Los Angeles in search of the photographer <a href="https://en.wikipedia.org/wiki/Garry_Winogrand" rel="nofollow" target="_blank">Garry Winogrand</a>, whom he befriended. In 1999 he moved to Athens, Georgia where he still lives, with his wife, photographer <a href="https://bensmithphoto.com/asmallvoice/irina-rozovsky" rel="nofollow" target="_blank">Irina Rozovsky</a>, and their young daughter. On episode 112, Mark discusses, among other things: <ul> <li>Delving into the archive</li> <li><a href="https://www.nazraeli.com/complete-catalogue/mark-steinmetz-angel-city-west-from-set-two" rel="nofollow" target="_blank">Angel City West</a></li> <li>First darkroom in Iowa</li> <li>Going to L.A. and meeting Winogrand</li> <li>Earning a living</li> <li>MOMA show</li> <li>Bring drawn to The South and shooting there</li> <li>Why he works in B&amp;W</li> <li>His aesthetic and why he still prints his own work</li> <li>Meditation and avoiding distractions</li> </ul> Referenced: <ul> <li><a href="https://en.wikipedia.org/wiki/Henry_Wessel_Jr." rel="nofollow" target="_blank">Henry Wessel</a></li> <li><a href="https://en.wikipedia.org/wiki/Garry_Winogrand" rel="nofollow" target="_blank">Garry Winogrand</a></li> <li><a href="https://en.wikipedia.org/wiki/Robert_Frank" rel="nofollow" target="_blank">Robert Frank</a></li> <li><a href="https://en.wikipedia.org/wiki/Walker_Evans" rel="nofollow" target="_blank">Walker Evans</a></li> <li>David M. Spear - The Neugents</li> <li><a href="https://en.wikipedia.org/wiki/Robert_Adams_(photographer)" rel="nofollow" target="_blank">Robert Adams</a></li> <li><a href="https://en.wikipedia.org/wiki/Lee_Friedlander" rel="nofollow" target="_blank">Lee Friedlander</a></li> <li><a href="https://en.wikipedia.org/wiki/Tod_Papageorge" rel="nofollow" target="_blank">Todd Pagageorge</a></li> <li><a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz" rel="nofollow" target="_blank">André Kertesz</a></li> </ul> <a href="https://www.marksteinmetz.net" rel="nofollow" target="_blank">Website</a> “There’s this beautiful thing and it’s the main thing and it’s the important thing and sometimes perfectionism can just cripple that. You know, why is one picture alive and another dead? And often it’s just, who wants something perfect, you know? It doesn’t ring true really. So I do like some sloppiness but I try to be smart about it.”

112 - Mark Steinmetz

Alex Webb

Rebecca Norris

Rebecca Norris Webb was originally a journalist and a poet before falling in love with photography and transitioning to a career that has since incorporated all of those disciplines. Rebecca has produced numerous books and exhibitions, most notably her monograph, My Dakota — an elegy for her brother who died unexpectedly — with a solo exhibition of the work at The Cleveland Museum of Art (2015), among other venues. Alex Webb is famous for his vibrant, complex colour street photography, especially that from Haiti, Cuba and Mexico, though he has more recently begun shooting on his home soil in the USA. Alex has produced sixteen photo books, won numerous awards, including a Guggenheim Fellowship in 2007 and has been a member of Magnum Photos since 1979. Together, as well as being husband and wife, Alex and Rebecca  have shared an abiding creative partnership, collaborating on numerous book projects including Violet Isle, their work form Cuba, Memory City and Slant Rhymes . Their latest collaboration, Brooklyn: The City Within, is a book project about the New York borough which has been their home for many years, and that will be published by aperture entitled in September of 2019. Alex and Rebecca were recently recipients of an NEA grant. On episode 105, Rebecca and Alex discuss, among other things: Their first collaboration: Violet Isle Their respective strengths Memory City Slant Rhymes  Their forthcoming book Brooklyn: The City Within Making book dummies Advice on collaborating Future projects individual and together Referenced: David Chickey Teju Cole John Ashbery Ilya Kaminsky Marie Howe Italo Calvino Website | Facebook | Instagram “I think we both realised that we were each others biggest fans, but because we were that we were also very insightful critcs and it was a sense that it would be better if we told each other what we though were the weaknesses of a project before the project went out into the world. And even though that sometimes caused tensions in the marriage, we realised that overall oit was worth going through that creatively...” — Rebecca Norris Webb

Rebecca Norris Webb was originally a journalist and a poet before falling in love with photography and transitioning to a career that has since incorporated all of those disciplines. Rebecca has produced numerous books and exhibitions, most notably her monograph, My Dakota — an elegy for her brother who died unexpectedly — with a solo exhibition of the work at The Cleveland Museum of Art (2015), among other venues. Alex Webb is famous for his vibrant, complex colour street photography, especially that from Haiti, Cuba and Mexico, though he has more recently begun shooting on his home soil in the USA. Alex has produced sixteen photo books, won numerous awards, including a Guggenheim Fellowship in 2007 and has been a member of Magnum Photos since 1979. Together, as well as being husband and wife, Alex and Rebecca have shared an abiding creative partnership, collaborating on numerous book projects including <a href="https://radiusbooks.org/books/alex-webb-rebecca-norris-webb-violet-isle/" rel="nofollow" target="_blank">Violet Isle</a>, their work form Cuba, <a href="https://radiusbooks.org/books/alex-webb-rebecca-norris-webb-memory-city/" rel="nofollow" target="_blank">Memory City</a> and <a href="https://vimeo.com/213051890" rel="nofollow" target="_blank">Slant Rhymes </a>. Their latest collaboration, Brooklyn: The City Within, is a book project about the New York borough which has been their home for many years, and that will be published by aperture entitled in September of 2019. Alex and Rebecca were recently recipients of an NEA grant. On episode 105, Rebecca and Alex discuss, among other things: Their first collaboration: <a href="https://radiusbooks.org/books/alex-webb-rebecca-norris-webb-violet-isle/" rel="nofollow" target="_blank">Violet Isle</a> Their respective strengths <a href="https://radiusbooks.org/books/alex-webb-rebecca-norris-webb-memory-city/" rel="nofollow" target="_blank">Memory City</a> <a href="https://vimeo.com/213051890" rel="nofollow" target="_blank">Slant Rhymes </a> Their forthcoming book Brooklyn: The City Within Making book dummies Advice on collaborating Future projects individual and together Referenced: <a href="https://www.skolkinchickey.com/about.htm" rel="nofollow" target="_blank">David Chickey</a> <a href="https://en.wikipedia.org/wiki/Teju_Cole" rel="nofollow" target="_blank">Teju Cole</a> <a href="https://en.wikipedia.org/wiki/John_Ashbery" rel="nofollow" target="_blank">John Ashbery</a> <a href="https://en.wikipedia.org/wiki/Ilya_Kaminsky" rel="nofollow" target="_blank">Ilya Kaminsky</a> <a href="https://en.wikipedia.org/wiki/Marie_Howe" rel="nofollow" target="_blank">Marie Howe</a> <a href="https://en.wikipedia.org/wiki/Italo_Calvino" rel="nofollow" target="_blank">Italo Calvino</a> <a href="https://www.webbnorriswebb.co" rel="nofollow" target="_blank">Website</a> | <a href="https://www.facebook.com/Alex-Webb-Rebecca-Norris-Webb-196799313709221/" rel="nofollow" target="_blank">Facebook</a> | <a href="https://www.instagram.com/webb_norriswebb/" rel="nofollow" target="_blank">Instagram</a> “I think we both realised that we were each others biggest fans, but because we were that we were also very insightful critcs and it was a sense that it would be better if we told each other what we though were the weaknesses of a project before the project went out into the world. And even though that sometimes caused tensions in the marriage, we realised that overall oit was worth going through that creatively...” — Rebecca Norris Webb

105 - Rebecca Norris Webb and Alex Webb

Todd Hido

Todd Hido is an American photographer born in Ohio and who for many years has been based in the San Francisco Bay Area. He received a BFA from Tufts University in Massachusetts, and an MFA from the California College of Arts and Crafts. He is currently an adjunct professor at the California College of Art in San Francisco. Todd’s images have featured in many publications, have been exhibited widely and are included in various prestigious public and private collections, most notably, Pier 24 Photography in San Francisco which holds the archive of all his published works. He has over a dozen published books to his name, including a mid-career survey entitled Intimate Distance: Twenty-Five Years of Photographs published in 2016 by Aperture, and his most recent monograph is Bright Black World, which was released by Nazraeli Press in 2018 and is already sold out. In episode 103, Todd discusses, among other things:  Discovering photography at school as a C and D student BMX as his first subject matter How the houses at night series began as an ‘establishing shot’ Why he values his education as a commercial photographer His mentor, Larry Sultan The joy of being lost in the fog The influence of Jim Dow Collaborating with his female subjects His most recent book Bright Black World  Referenced:  Robert Frank Larry Sultan Raymond Carver [Robert Adams](https://en.wikipedia.org/wiki/Robert_Adams_(photographer) Sally Mann Tina Barney Jim Dow  Website | Facebook | Instagram | Twitter “The thing that I always say about meaning and art is that the meaning of the image resides in the viewer. And I think that’s a really true thing. Like in music, what’s the meaning of a song? It means a thousand different things to a thousand different people. And there’s an intention of the artist, but that’s not always what’s the most important thing.” Episode sponsored by PicDrop, The Charcoal Book Club and Findr.

Todd Hido is an American photographer born in Ohio and who for many years has been based in the San Francisco Bay Area. He received a BFA from Tufts University in Massachusetts, and an MFA from the California College of Arts and Crafts. He is currently an adjunct professor at the California College of Art in San Francisco. Todd’s images have featured in many publications, have been exhibited widely and are included in various prestigious public and private collections, most notably, <a href="https://pier24.org" rel="nofollow" target="_blank">Pier 24 Photography</a> in San Francisco which holds the archive of all his published works. He has over a dozen published books to his name, including a mid-career survey entitled Intimate Distance: Twenty-Five Years of Photographs published in 2016 by Aperture, and his most recent monograph is <a href="http://www.nazraeli.com/complete-catalogue/todd-hido-bright-black-world" rel="nofollow" target="_blank">Bright Black World</a>, which was released by Nazraeli Press in 2018 and is already sold out. In episode 103, Todd discusses, among other things: <ul> <li>Discovering photography at school as a C and D student</li> <li>BMX as his first subject matter</li> <li>How the houses at night series began as an ‘establishing shot’</li> <li>Why he values his education as a commercial photographer</li> <li>His mentor, <a href="https://en.wikipedia.org/wiki/Larry_Sultan" rel="nofollow" target="_blank">Larry Sultan</a></li> <li>The joy of being lost in the fog</li> <li>The influence of <a href="https://en.wikipedia.org/wiki/Jim_Dow" rel="nofollow" target="_blank">Jim Dow</a></li> <li>Collaborating with his female subjects</li> <li>His most recent book <a href="http://www.nazraeli.com/complete-catalogue/todd-hido-bright-black-world" rel="nofollow" target="_blank">Bright Black World</a></li> </ul> Referenced: <ul> <li><a href="https://en.wikipedia.org/wiki/Robert_Frank" rel="nofollow" target="_blank">Robert Frank</a></li> <li><a href="https://en.wikipedia.org/wiki/Larry_Sultan" rel="nofollow" target="_blank">Larry Sultan</a></li> <li><a href="https://en.wikipedia.org/wiki/Raymond_Carver" rel="nofollow" target="_blank">Raymond Carver</a></li> <li>[Robert Adams](<a href="https://en.wikipedia.org/wiki/Robert_Adams_(photographer" rel="nofollow" target="_blank">https://en.wikipedia.org/wiki/Robert_Adams_(photographer</a>)</li> <li><a href="https://en.wikipedia.org/wiki/Sally_Mann" rel="nofollow" target="_blank">Sally Mann</a></li> <li><a href="https://en.wikipedia.org/wiki/Tina_Barney" rel="nofollow" target="_blank">Tina Barney</a></li> <li><a href="https://en.wikipedia.org/wiki/Jim_Dow" rel="nofollow" target="_blank">Jim Dow</a></li> </ul> <a href="http://www.toddhido.com" rel="nofollow" target="_blank">Website</a> | <a href="https://www.facebook.com/toddhido" rel="nofollow" target="_blank">Facebook</a> | <a href="https://www.instagram.com/toddhido_/" rel="nofollow" target="_blank">Instagram</a> | <a href="https://twitter.com/toddhido" rel="nofollow" target="_blank">Twitter</a> “The thing that I always say about meaning and art is that the meaning of the image resides in the viewer. And I think that’s a really true thing. Like in music, what’s the meaning of a song? It means a thousand different things to a thousand different people. And there’s an intention of the artist, but that’s not always what’s the most important thing.” Episode sponsored by <a href="https://www.picdrop.de/web/en/" rel="nofollow" target="_blank">PicDrop</a>, The <a href="https://charcoalbookclub.com" rel="nofollow" target="_blank">Charcoal Book Club</a> and <a href="https://findr.me" rel="nofollow" target="_blank">Findr</a>.

103 - Todd Hido

Nick Waplington

Nick Waplington is a photographer and a painter, who divides his time between New York, where he lives with his English professor wife and their young son, and London where his older son lives and where has a studio and live/work space.He has produced many photobooks over a thirty year career, collaborating with established publishers such as Aperture, Cornerhouse, Mack, Phaidon and Trolley, producing low-fi, zine style publications in small numbers and more recently self-publishing through Jesus Blue, the imprint he founded this year with his friend, the designer Jonny Lu.His work has been shown in solo exhibitions at Tate Britain and The Photographers' Gallery in London, at the Philadelphia Museum of Art, and numerous other institutions, In 1993 he was awarded an Infinity Award for Young Photographer by the International Center of Photography and his work is held in the permanent collections of the Solomon R. Guggenheim Museum in New York City, the Victoria and Albert Museum in London, and the National Gallery of Australia, among others.Nick travelled extensively during his childhood as his step-father (who he thought at the time was his biological father) worked as a scientist in the nuclear industry. He studied art at West Sussex College of Art &amp; Design in Worthing, Trent Polytechic in Nottingham and the Royal College of Art in London. From 1984, Nick would regularly visit his grandfather on the Broxtowe Estate in Aspley, Nottingham, where he began to photograph the surroundings and some of the families who lived there. He continued with this work on and off for the next 15 years and from it came two books, Living Room and Weddings, Parties, Anything, as well as numerous exhibitions.Other bodies of his work include Safety in Numbers (1997), a bleak study of the ecstasy drug culture in the mid-1990s; The Indecisive Memento, a global road trip where the journey itself was the artwork (1999); Truth or Consequences (2001), a pictorial game based on the history of photography using the town of Truth or Consequences, New Mexico as a backdrop, inspired by the rules of the 1950s television show; and You Love Life (2005), in which he uses pictures taken over a 20-year period to construct an autobiographical narrative.Nick worked on a major book project with the fashion designer Alexander McQueen during 2008/2009, called Working Process (2013), the title referring to both McQueen's working process as a fashion designer and Waplington's working process as an artist making photo books. In March 2015 this project became the first one-person exhibition by a British photographer in the main exhibition space at Tate Britain in London.Nick participated in the photography collective This Place, founded by Frédéric Brenner, contributing the book Settlement (2014), a study of Jewish settlers living in the West Bank, portrait and landscape photographs taken with a large format camera.While continuing to make photographic works Waplington has since 2010 devoted much of his time to his practice as a painter. On episode 118, Nick discusses, among other things:His life NY-LON life: dividing his time between the U.S. and LondonPainting and photographyRecent work based around Plato’s allegory of the caveHis latest book Hackney Riviera and why he self-published itBeing ‘on it’ and the “all day, every day” practiceHow it all began in the school darkroomGrammar school, post-punk and not having a plan BHis Living Room projectDiscovering the hidden truth about his fatherMoving to Jerusalam to photograph Jewish settlers in the Occupied TerritoriesForthcoming autobiographical project, Anaglypta, about him, childhood, and his relationship to violence Referenced:David CampanySir Nick SerrotaJonny LuRoe EthridgeWolfgand TillmansPennie SmithMick Jones and The ClashFrederic BrennerEyal WeizmanJosef KoudelkaJo Spence Website | Instagram | Twitter “The whole world is changing very fast because of new technologies and the internet or whatever. You have to adapt. I’m kind of insulated from the changes in photography because I operate in the art world which is about, on a very base level, you make expensive things that rich people buy. And that hasn’t changed.”

Nick Waplington is a photographer and a painter, who divides his time between New York, where he lives with his English professor wife and their young son, and London where his older son lives and where has a studio and live/work space.He has produced many photobooks over a thirty year career, collaborating with established publishers such as Aperture, Cornerhouse, Mack, Phaidon and Trolley, producing low-fi, zine style publications in small numbers and more recently self-publishing through <a href="https://www.jesusblue.co.uk/" rel="nofollow" target="_blank">Jesus Blue</a>, the imprint he founded this year with his friend, the designer Jonny Lu.His work has been shown in solo exhibitions at Tate Britain and The Photographers' Gallery in London, at the Philadelphia Museum of Art, and numerous other institutions, In 1993 he was awarded an Infinity Award for Young Photographer by the International Center of Photography and his work is held in the permanent collections of the Solomon R. Guggenheim Museum in New York City, the Victoria and Albert Museum in London, and the National Gallery of Australia, among others.Nick travelled extensively during his childhood as his step-father (who he thought at the time was his biological father) worked as a scientist in the nuclear industry. He studied art at West Sussex College of Art &amp; Design in Worthing, Trent Polytechic in Nottingham and the Royal College of Art in London. From 1984, Nick would regularly visit his grandfather on the Broxtowe Estate in Aspley, Nottingham, where he began to photograph the surroundings and some of the families who lived there. He continued with this work on and off for the next 15 years and from it came two books, Living Room and Weddings, Parties, Anything, as well as numerous exhibitions.Other bodies of his work include Safety in Numbers (1997), a bleak study of the ecstasy drug culture in the mid-1990s; The Indecisive Memento, a global road trip where the journey itself was the artwork (1999); Truth or Consequences (2001), a pictorial game based on the history of photography using the town of Truth or Consequences, New Mexico as a backdrop, inspired by the rules of the 1950s television show; and You Love Life (2005), in which he uses pictures taken over a 20-year period to construct an autobiographical narrative.Nick worked on a major book project with the fashion designer Alexander McQueen during 2008/2009, called Working Process (2013), the title referring to both McQueen's working process as a fashion designer and Waplington's working process as an artist making photo books. In March 2015 this project became the first one-person exhibition by a British photographer in the main exhibition space at Tate Britain in London.Nick participated in the photography collective This Place, founded by Frédéric Brenner, contributing the book Settlement (2014), a study of Jewish settlers living in the West Bank, portrait and landscape photographs taken with a large format camera.While continuing to make photographic works Waplington has since 2010 devoted much of his time to his practice as a painter. On episode 118, Nick discusses, among other things:<ul><li>His life NY-LON life: dividing his time between the U.S. and London</li><li>Painting and photography</li><li>Recent work based around Plato’s allegory of the cave</li><li>His latest book <a href="https://www.jesusblue.co.uk/" rel="nofollow" target="_blank">Hackney Riviera</a> and why he self-published it</li><li>Being ‘on it’ and the “all day, every day” practice</li><li>How it all began in the school darkroom</li><li>Grammar school, post-punk and not having a plan B</li><li>His Living Room project</li><li>Discovering the hidden truth about his father</li><li>Moving to Jerusalam to photograph Jewish settlers in the Occupied Territories</li><li>Forthcoming autobiographical project, Anaglypta, about him, childhood, and his relationship to violence</li></ul> Referenced:<ul><li><a href="https://en.wikipedia.org/wiki/David_Campany" rel="nofollow" target="_blank">David Campany</a></li><li><a href="https://en.wikipedia.org/wiki/Nicholas_Serota" rel="nofollow" target="_blank">Sir Nick Serrota</a></li><li><a href="https://jonny-lu.com/" rel="nofollow" target="_blank">Jonny Lu</a></li><li><a href="https://en.wikipedia.org/wiki/Roe_Ethridge" rel="nofollow" target="_blank">Roe Ethridge</a></li><li><a href="https://en.wikipedia.org/wiki/Wolfgang_Tillmans" rel="nofollow" target="_blank">Wolfgand Tillmans</a></li><li><a href="https://en.wikipedia.org/wiki/Pennie_Smith" rel="nofollow" target="_blank">Pennie Smith</a></li><li><a href="https://en.wikipedia.org/wiki/Mick_Jones_(The_Clash_guitarist)" rel="nofollow" target="_blank">Mick Jones</a> and <a href="https://en.wikipedia.org/wiki/The_Clash" rel="nofollow" target="_blank">The Clash</a></li><li><a href="https://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Brenner" rel="nofollow" target="_blank">Frederic Brenner</a></li><li><a href="https://en.wikipedia.org/wiki/Eyal_Weizman" rel="nofollow" target="_blank">Eyal Weizman</a></li><li><a href="https://en.wikipedia.org/wiki/Josef_Koudelka" rel="nofollow" target="_blank">Josef Koudelka</a></li><li><a href="https://en.wikipedia.org/wiki/Jo_Spence" rel="nofollow" target="_blank">Jo Spence</a></li></ul> <a href="http://www.nickwaplington.org/" rel="nofollow" target="_blank">Website</a> | <a href="https://www.instagram.com/nickwaplington/" rel="nofollow" target="_blank">Instagram</a> | <a href="https://twitter.com/nickwaplington" rel="nofollow" target="_blank">Twitter</a> <blockquote>“The whole world is changing very fast because of new technologies and the internet or whatever. You have to adapt. I’m kind of insulated from the changes in photography because I operate in the art world which is about, on a very base level, you make expensive things that rich people buy. And that hasn’t changed.”</blockquote>

118 - Nick Waplington

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