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Featuring:
Javier Hirschfeld MorenoFrancesco ZizolaMelissa SchriekChilli PowerSelf Publishers UnitedBryan SchutmaatTiffany JonesAtong AtemWebsite | Instagram
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Polly Braden is a documentary photographer whose work features an ongoing conversation between the people she photographs and the environment in which they find themselves. Highlighting the small, often unconscious gestures of her subjects, Polly particularly enjoys long-term, in depth collaborations that in turn lends her photographs a unique, quiet intimacy. She works on long-term, self-initiated projects, as well as commissions for international publications.
Polly has produced a large body of work that includes not only solo exhibitions and magazine features, but a number of books published by Dewi Lewis, including Holding The Baby (2022), Out of the Shadows: The Untold Story of People with Autism or Learning Disabilities (2018), and China Between (2010), and two published by Hoxton Mini Press: London’s Square Mile: A Secret City (2019) and Adventures in the Lea Valley), (2016).
Polly teaches regularly at The University of Westminster and London College of Communication (LCC), she is a winner of the Jerwood Photography Prize, The Guardian Young Photographer of the Year, 2002, and the Joanna Drew Bursary 2013. Polly is nominated by Hundred Heroines 2020 and she has exhibited at numerous venues internationally. Her most recent solo exhibition, of her project Leaving Ukraine, just ended at the Foundling Museum in London, where it was on show from March 15th to October 20th 2024.
In episode 242, Polly discusses, among other things:
Exhitibition at the Foundling Museum, Leaving Ukraine and how it came aboutSome of the people she focussed onHolding The Baby , her project on single parentsJena’s storyWhy she has started working with film projectsHer introduction to photographyHer first trip to China: “an exercise in isolation”Her project on Chinese factories and their workersGreat Interactions book on people with learning disabilitiesHer current project she’s working onSecuring funding, building partnerships and being an entrepreneurReferenced:
Patrick SutherlandCheryl NewmanKatz PicturesBecky SextonWebsite | Instagram
“I’m not someone who wanted to just jump in, point a camera at someone and walk away. I think I’ve always been someone who wanted it to feel very collaborative. Whether you’re on the street and you’ve made eye contact and you feel like someone’s ok with it, at the very basic level, to now as I get older, when I’d be as interested in someone doing all the work and me just being a vehicle through which someone can tell their story.”
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REPOSTING THESE EPISODES FROM JANUARY 2018 IN MEMORY OF PAUL LOWE, WHO HAS SADLY DIED AT THE AGE OF 60.
This is part two of a two part chat with Dr. Paul Lowe. Paul is a Reader in Documentary Photography and the Course Leader of the Masters program in Photojournalism and Documentary Photography at the London College of Communication, University of the Arts, London. Before elected to put his cameras away in favour of a life in academia, Paul was an award-winning news and documentary photographer with several World Press Photo awards under his belt and many years of experience covering breaking news the world over, including the fall of the Berlin Wall, the Romanian revolution, Nelson Mandela’s release, famine in Africa, the conflict in the former Yugoslavia, and the destruction of Grozny during the conflict in Chechnya. His pictures have appeared in such esteemed publications as TIME, Newsweek, Life, The Sunday Times Magazine, The Observer, and The Independent, amongst others. His book, Bosnians, documenting 10 years of the war and post-war situation in Bosnia, was published in April 2005 by Saqi books. His research interest focuses on the photography of conflict, and he has contributed chapters to the books Picturing Atrocity: Photography in Crisis (Reaktion, 2012) and Photography and Conflict. His most recent books include Photography Masterclass (buy on Amazon) published by Thames and Hudson, and Understanding Photojournalism, co-authored with Dr. Jenny Good, published by Bloomsbury Academic Press (Buy on Amazon).
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related and much more besides.
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REPOSTING THESE EPISODES FROM JANUARY 2018 IN MEMORY OF PAUL LOWE, WHO HAS SADLY DIED AT THE AGE OF 60.
This is part one of a two part chat with Dr. Paul Lowe. Paul is a Reader in Documentary Photography and the Course Leader of the Masters program in Photojournalism and Documentary Photography at the London College of Communication, University of the Arts, London. Before elected to put his cameras away in favour of a life in academia, Paul was an award-winning news and documentary photographer with several World Press Photo awards under his belt and many years of experience covering breaking news the world over, including the fall of the Berlin Wall, the Romanian revolution, Nelson Mandela’s release, famine in Africa, the conflict in the former Yugoslavia, and the destruction of Grozny during the conflict in Chechnya. His pictures have appeared in such esteemed publications as TIME, Newsweek, Life, The Sunday Times Magazine, The Observer, and The Independent, amongst others. His book, Bosnians, documenting 10 years of the war and post-war situation in Bosnia, was published in April 2005 by Saqi books. His research interest focuses on the photography of conflict, and he has contributed chapters to the books Picturing Atrocity: Photography in Crisis (Reaktion, 2012) and Photography and Conflict. His most recent books include Photography Masterclass (buy on Amazon) published by Thames and Hudson, and Understanding Photojournalism, co-authored with Dr. Jenny Good, published by Bloomsbury Academic Press (Buy on Amazon).
- Become a full tier 1 member here to access exclusive additional
subscriber-only content and the full archive of previous episodes
for £5 per month.
- For the tier 2 archive-only membership, to access the full library
of past episodes for £3 per month, go here.
- Subscribe to my weekly newsletter here for everything A Small Voice
related and much more besides.
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- Build Yourself a Squarespace Website video course here.
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Agnieszka Sosnowska was born in Warsaw, Poland and was raised in Boston, Massachusetts. She earned a BFA from Massachusetts College of Art and a MFA from Boston University. She is currently an elementary school teacher. She lives on farm
in East Iceland. She is recognised for her self portraits that span 30 years. Currently she is working on series that embodies her life as an immigrant in Iceland. She uses the camera to take inspiration from a land that is otherworldly.“I grew up in Boston and traveled to Iceland 25 years ago on a whim”, says Agnieszka. “I fell in love and remained. With my Icelandic husband I chose to live in nature, not visit it. This decision has not been without tests. Together we have made a life that I feel we are only beginning. Everyday, I search for corners of quiet. When there, I stop and listen for a long time. These places exist around our farm, with friends, and the students I teach. These places are my everyday. They are my everything.”
Agnieszka has been the recipient of a number of grants, including a Fulbright Scholars Fellowship to Poland and an American Scandinavian Fellowship to Iceland. She was awarded the Hjálmar R. Bárðarson Photography Grant by the National Museum of Iceland. Her series was awarded the Director’s Choice by the Center awards in 2017 and she has been in the Top 50 of Critical Mass on three occasions. Her work has been exhibited in the National Museum of Iceland and the Reykjavik Museum of Photography. She is represented exclusively by Vision Neil Folberg Gallery in Jerusalem.
Earlier this year, Agnieszka released her debut photobook, För, published by Trespasser Books and already sold out.
Her collaboration with Icelandic poet Ingunn Snædal, entitled RASK, is currently being exhibited at the Reykjavik Museum of Photography until Decembet 2024.
In episode 241, Agnieszka discusses, among other things:
Early years travelling to Communist PolandWanting to assimilate into the USA as an immigrantEarly education in photography at Mass. ArtHer early interest in self-portraitureNot having a plan… but being a hard workerThe trip to Iceland that changed her life……and her decision to move thereA description of where she livesThe hardest thing to adapt to being the WintersThe first things she started to photograph thereSelf-portaiture and the suckiness of documenting ageingThe freedom of realising that you don’t have to work on distinct ‘projects’‘Myth of a Woman’ - her attempt at exploring the experience of womanhoodCollaborating with her students on portrait sessionsThe last picture in the bookHer collaboration with Icelandic poet Ingunn Snædal, RASK, currently an exhibition at the Reykjavik Museum of PhotographyReferenced:
Cindy ShermanMargaret JohnsonLaura McPheeIngunn SnædalBarbara BosworthWebsite | Instagram
“I wanted to grow. I just didn’t know how. And I think the only way you grow is not by thinking about it but by doing it and making the mistakes. And I made a lot of mistakes. And thank God I did because in doing the mistakes I started to get more to having the self-portraits be more real. And that’s really hard to do. Especially I think as me having done it for so long, and also getting older in front of a camera, as a woman, it’s hard.”
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Robbie Lawrence is a London based Scottish photographer and director represented by Webber Represents. Robbie is acutely attentive to the way images tell a story. Working with a painterly softness and sensitivity to his subjects, he deals in detail and nuance. From portraiture, travel and documentary to editorial work, he places the human experience front and centre to create thoughtful, abstract images, with an emphasis on narrative.
Recent books include Blackwater River and A Voice Above The Linn published by Stanley/Barker. Stills gallery in Edinburgh hosted the first UK institutional solo exhibition by Robbie in 2022, bringing together a snapshot of life post-Brexit across Scotland’s cities, rural locations and coastal towns.
Robbie’s new book, Long Walk Home, was just released (September 2024) by Stanley/Barker.
Clients Include: UN, Apple, Nike, Hermes, Gucci, The New Yorker, Du Monde, The New York Times Magazine, The Atlantic, I-D and many others.
In episode 240, Robbie discusses, among other things:
His recent assignment at The OlympicsHis internship in Paris and his time in New YorkHis relationship to painting and writingBuilding a career to encompass commercial and personal workHow working commercially can be a ‘relief’.His ‘macrojournalistic approach’His first book project, Blackwater RiverHis second book, A Voice Above The LinnCollaboration with poet John BurnsideHis new book about the Highland Games, Long Walk Home.Why he threw away three years worth of work and began againWorking digitally with ‘manual’ lensesThe difference between myth and historyA reading from John Burnside’s essay in the bookReferenced:
The Tokyo Olympiad, Kon IchikawaThe French, William KleinJohn BurnsideRenton’s rant on why it’s ‘shite being Scottish’ from the movie TrainspottingWebsite | Instagram
“I like the variety […] I like being on set. You become more like a director. As a photographer you’re almost the emotional heartbeat of a set. It’s interesting because at school and university I really found exams hellish from an expectation point of view. Like, I would put myself under a lot of pressure. And I would describe some of those more pressurised commercial jobs almost like a school exam where you expected to produce something of quality under a very tight time constraint. As a physical experience it can feel similar, and I suppose maybe it’s just experience that I can now recall moments where I’ve overcome those kind of stresses. So I like the shift.”
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Visual storyteller Kiana Hayeri grew up in Tehran and moved to Toronto while she was still a teenager. Faced with the challenges of adapting to a new environment, she took up photography as a way of bridging the gap in language and culture. In 2014, a short month before NATO forces pulled out, Kiana moved to Kabul and stayed on for 8 years. Her work often explores complex topics such as migration, adolescence, identity and sexuality in conflict-ridden societies.
In 2014, Kiana was named as one of the emerging photographers by PDN 30 Under 30. In 2016, she was selected as the recipient of Chris Hondros Award as an emerging photographer. In 2017, she received a grant from European Journalism Center to do a series of reporting on gender equality out of Afghanistan and received Stern Grant in 2018 to continue her work on the state of mental health among afghan women. In 2020, Kiana received Tim Hetherington Visionary award for her proposed project to reveal the dangers of dilettante “hit & run” journalism. Later that year, she was named as the 6th recipient of the James Foley Award for Conflict Reporting. In 2021, Kiana received the prestigious Robert Capa Gold Medal for her photographic series Where Prison is Kind of a Freedom, documenting the lives of Afghan women in Herat Prison. In 2022, Kiana was part of The New York Times reporting team that won The Hal Boyle Award for The Collapse of Afghanistan and was shortlisted under International Reporting for the Pulitzer Prize. In the same year, she was also named as the winner of Leica Oskar Barnack Award for her portfolio, Promises Written On the Ice, Left In the Sun, an intimate look into the lives of Afghan from all walks of life.
Kiana, along with her colloaborator, the researcher Mélissa Cornet, is recipient of the 2024 Carmignac Photojournalism Award for the reportage No Woman’s Land, an investigation into the plight of women in Afghanistan under the Taliban and the work will be showcased in a double exhibition this Autumn - from October 25th to November 18th - at the Réfectoire des Cordeliers in Paris as part of the Photo Saint Germain festival.
Kiana is a Senior TED fellow, a National Geographic Explorer grantee and a regular contributor to The New York Times and National Geographic. She is currently based in Sarajevo, telling stories from Afghanistan, The Balkans and beyond.
In episode 239, Kiana discusses, among other things:
Her story for the NYT about FGM in Gambia
Gender apartheid
Her take on winning awards as a photojournalist
Having to Google what the Robert Cap Gold Medal was - having won it
Her book When Cages Fly
Moving to Canada from Iran as a teenager
How photography helped her bridge the ‘culture and language gap’.
Being at a ‘gifted’ school
Her first trip to Afghanistan
Comparisons with Iran in terms of relative ‘liberalism’.
Her first commission from National Geographic
Her story on women in Herat prison
The moment Afghanistan fell to the Taliban and her guilt over leaving friends behind
Gender apartheid in Afghanistan specifically
The dangers of ‘dilettante hit and run journalism’
Referenced:
Eddie Adams workshops
Dominic Nahr
Kitra Cahana
Ed Ou
Guy Martin
Stephen Mayes
Mélissa Cornet
Sarah Leen
Website | Instagram
“I tell people having a camera is like living a thousand different lives, but you have that camera as an excuse to immerse yourself into something, live it for a while and then walk away when you’re ready.”
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Using photography, testimony and archive, Diana Matar's in-depth bodies of work investigate themes of history, memory and state sponsored violence. Grounded in heavy research and often spending years on a project, Diana attempts to capture the invisible traces of human history and produces installations and books that query what role aesthetics might playin the depiction of power. A graduate of the Royal College of Art, Diana has received the Deutsche Bank Pyramid Award for Fine Art; the International Fund for Documentary Photography; a Ford Foundation Grant for artists making work on history and memory; and twice been awarded an Arts Council of England Individual Artist Grant. Her work is held in public and private collections and has been exhibited in numerous institutions including Tate Modern, London; The National Museum of Singapore; Museum Folkswang, Essen, Germany; The Institut du Monde Arabe, Paris; The Museum of Contemporary Photography, Chicago; and Musee de la Photographie a Charleroi. Her monograph Evidencewas published in 2014 by Schilt Publishing Amsterdam to critical acclaim and chosen by New York Times Photography critic Teju Cole as one of two best photography books of the year. In 2019 Matar was appointed Distinguished Artist at Barnard College Columbia University, New York. In April 2024 Diana’s most recent book, My America, was published by GOST Books.
In episode 238, Diana discusses, among other things:
Early experiences in Panama and Latin America.How an errand to buy a lightbulb changed everything.A brush with Manuel Noriega.How she met her Libyan husband, the writer Hisham Matar.Why she found doing her M.A. ‘really, really challenging’.Her first book project, Evidence.The inclusion of her own writing in the book.Her latest book, My America.Some of the key factors around the issue of police shootings.The complexities of the subject.How she has “intermalised a European sense of America.”Why she shot the project on her iPhone and the rules she imposed on herself.Whether photographs can ‘bear the burden of history.’What she is currently working on.Her reaction to the bonus questions.Website | Instagram
“I think I internalised a European sense of America in several different ways. When I was out on the road a lot of things seemed exotic to me, things that I’d grown up with and were just part of being: the long distances; these buildings that just pop up in the middle of nowhere; the emptiness; the scale… the kind of watching of movies of what is the American west. The internalisation I think has something to do with scale. I live in London - the small streets, you’re around people all the time, and then being in this openness, which i miss and i love, but I did find it unnerving and it effected how I made the work actually.”
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Abdulhamid Kircher is an artist from Queens, New York. He was born in 1996 in Berlin to German and Turkish parents, and immigrated with his mother to the United States at the age of eight. His work is a living archive of place and people, as it is also a dedication to the language of photography, the mechanics and aesthetic possibilities of the form. Through his devotion to classical forms of image making and the radical experimentation required for each of his subjects, his process bridges the idea between document and narrative. He received his BA in Culture and Media from The New School in 2018 and his MFA in Visual Arts from the University of California San Diego in 2022. Abdul currently lives and works between Berlin and Los Angeles.
Abdul’s debut photobook, Rotting From Within, was recently published by Loose Joints in June this year (2024). In it Abdul explores identity, patriarchy, generational trauma and the possibility of reconciliation in a diaristic project between Berlin and Turkey. A solo exhibition of the work is currently on show at the Carlier Gebauer gallery in Berlin until the 31st August. The 53 minute documentary film, Noch ein Kind (Still a Kid), 2024, by Abdul’s childhood friend Maxi Hachem, a Lebanese-German filmmaker based in Berlin, is also being screened as part of the exhibition. His documentary investigates the complex relationships and wounded history of Rotting from Within spanning the past three years between Berlin and Turkey.
In episode 237, Abdul discusses, among other things:
His early life “dragging bags of weed around the house”The history of paternal abuse in his familyHow he ended up moving from Berlin to New YorkHow he got into photography through TumblrHow his interest in photography drove the reconnection with his fatherWhere the books title stems fromParallels between his mum and grandmotherKeeping a diary since highschoolHis obsessive nature and tendency for self-flagellationHis partner, Zoe, who contributed text to the bookHow the documentary his friend Maxi Hachem shot, Noch Ein Kind (Still A Kid)How the work has been received as an exhibitionHow the process of making the work may or may not have helped himWebsite | Instagram
“I love it, but it’s beyond love because it feels like something that I just need to do. That’s why I was talking about photography being such an intuitive thing in my head, it’s because I don’t really have an option. I need to take these photographs, I need to make these photographs, and it’s not really something I have power over. And I think that’s the scary bit, it’s that yes I love it for what it’s allowed me to explore and allowed me to sort of open up to the world, but in that way it’s also become a burden.”
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Louis Quail is a documentary photographer who increasingly devotes his time to personal, long-term projects. His most recent work ‘Big Brother’ (published with Dewi Lewis, 2018), has received significant critical acclaim. The book and the work in it has been shortlisted for the Arles Book and Text award 2018, Wellcome Trust photography prize 2019 and is winner of the Renaissance Series Prize 2017. His Arts Council funded, Solo show, ‘Before They Were Fallen’ also received significant exposure. It toured the UK and reflects an interest in aftermath that has taken him, previously to Libya, Afghanistan, Haiti and Kosovo. He has worked extensively for some of the UK’s best known magazines and has been published internationally over a period of many years. He has twice been a finalist at the National Portrait Gallery portraiture award and is held in their permanent collection. He lectures, exhibits internationally and makes short films.
In episode 236, Louis discusses, among other things:
How the subject of his book, his big brother Justin, is doingChildhood with his schizophrenic mumWhy he believes firmly in the importance of toleranceThe way that he approached telling his brother’s storySome of the structural and political issues that impact people with mental health issuesThe importance of not over-focussing on some of the un-pc language that some of us use in daily life (including me, in this example)How he found his way into photographyHis portrait series ‘Aftermath’ which began in KosovoHis career as a jobbing editorial photographerHIs latest project about air pollutionWebsite | Instagram
“I’m not judgemental, I’m quite tolerant, and I do think that’s an important quaility that’s very much overlooked, especially these days on Twitter when everyone’s reacting to stuff all the time. I don’t like that. I’m really just into giving people a bit of space an allowing people to make some mistakes.”
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Debi Cornwall is a multimedia documentary artist who returned to visual expression after a 12-year career as a civil-rights lawyer. Her work explores the performance of power, citizenship and identity through still and moving images, sound, testimony, and archival material.
While completing a degree in Modern Culture and Media at Brown University, Debi studied photography at RISD. After working for photographers Mary Ellen Mark and Sylvia Plachy, as an AP stringer, and as an investigator for the federal public defender's office, she attended Harvard Law School and practiced as a wrongful conviction attorney for more than a decade, also training as a mediator. Exhaustive research and negotiation were critical to her advocacy and remain integral to her visual practice.
Debi was awarded the 2023 Prix Elysée, a biennial juried contemporary photography prize created by the Photo Elysée Museum in Lausanne, Switzerland with the support of Parmigiani Fleurier. The award enabled her to complete Model Citizens, now a book in English and French editions (Radius/Textuel) and an exhibition at the 2024 Rencontres d'Arles festival. She is also a 2024 New York State Council on the Arts (NYSCA) Individual Artist Grantee in film, a 2019 NYSCA/NYFA Artist Fellow in photography, and inaugural Leica Women Foto Project Award winner. Debi’s work has been profiled in publications including Art in America, European Photography Magazine, British Journal of Photography, the New York Times Magazine, and Hyperallergic, and is held in public and private collections around the world.
Debi has published two previous books, Welcome to Camp America: Inside Guantánamo Bay and Necessary Fictions. She is also an ICP faculty member, teaching students how to plumb deeper layers in their work, and consults independently with artists developing long-term projects.
In episode 235, Debi discusses, among other things:
Winning the Prix ElyséeHer path into a legal career in civil rightsThe ightbulb moment that took her to Guantanamo BayWorking around restrictions imposed“The performance of American power”Her secoond book Necessary FictionsHer films Pineland/Hollywood and Jade HelmHer latest book Model CitizensWebsite | Instagram
“I don’t think it’s a thread in the work so much as something that I’m really sitting with personally and creatively, but I have this advocate self who is outraged and frustrated at what is happening in our societies. And I have a trained mediator in me, which is more consistent with my creative approach, who thinks none of this changes unless we can really talk to each other across these divides; unless we can accept each other’s humanity and hear each other. Because that isn’t happening.”
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Featuring:
Mimi Mollica website/InstagramKeerthana Kunnath website/InstagramMikael Buck website/InstagramChris Dorley Brown website/InstagramShaw & Shaw website/InstagramMal Woolford website/InstagramImogen Forte website/InstagramQuetzal Maucci website/InstagramRichard Eyers website/InstagramWebsite | Instagram
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Born in Lyon in 1984 represented by Ibasho and galerie écho 119, Chloé Jafé is an artist and a photographer trained at the École de Condé in Lyon and at the UAL Central Saint Martins School in London.
She has been able to create a unique personal voice in the world of documentary photography. Those close to her say bluntly that she photographs with her gut, using the camera as a key to understanding the strange and the foreign. Her obsession and intuition has enabled her to access secret worlds. Her ability to connect to her subjects has meant her work really is exceptionally personal – the world through Chloe Jafes eyes.
She worked and immersed herself in Japan and Japanese culture from 2013-2019 creating a trilogy of work. The images are raw, black and white, tender and ferocious. She reveals an unprecedented vision of hidden parts of Japanese society. Her trilogy, composed of the chapters “I give you my life", "Okinawa mon amour" and "How I met Jiro", highlights the little-known and subversive sides of a place where modesty is paramount.
Critically acclaimed, her work on the women of the Yakuza was rewarded by the Bourse du Talent in 2017 and exhibited at the Bibliotèque nationale de France.
Attracted by sensitive and difficult subjects, often marginal, Chloé Jafé does not hesitate in her practice to push the limits of the photographic medium by working directly on prints, in acrylic and brush. Each of her series has resulted in a limited edition book, bound and handcrafted by the artist.In episode 233, Chloé discusses, among other things:
Photography as ‘a tool’Her first trip to JapanMoving thereHostess jobMeeting ‘the boss’The women of The YakuzaThe significance of tattoosPainting onto her printsHer trilogy of books: I Give You My Life, Okinawa Mon Amour and How I Met JiroFinding abandoned negativesAdventures in publishingReferenced:
Paolo RoversiSarah MoonYakuza MoonJake AdelsteinReminders ProjectTeun van der HeijdenWebsite | Instagram
“I was sure this project was mine. I had to do this. You know, I think I was frustrated that I was the right person to do this, and it was my mission. I was sure about that.”
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Featuring:
Lydia Goldblatt Website | InstagramKamiar Maleki Website | InstagramMichelle Sank Website | InstagramGered Mankowitz Website | InstagramAlys Tomlinson Website | Instagram | Mother Vera filmFariba Farshad Website | InstagramCharlotte Jansen Website | InstagramAndi Gáldi Vinkó Website | InstagramAnne-Marie Beckmann WebsiteRenée Mussai InstagramValérie Belin Website | InstagramMatt Stuart Website | InstagramChloé Jafé Website | InstagramPhoto London: Website | Instagram
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Featuring:
Silvia Rosi Website | InstagramArko Datto Website | InstagramYvonne Venegas Website | InstagramTim ClarkMarta Bogdanska Website | InstagramMichele Sibiloni Website | InstagramReferenced:
Walter GuadagniniLuce LebartBruno LatourTimothy MortonDaisy HildyardFestival: Website | Instagram / Collezione Maramotti: Website | Instagram
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Julia Kochetova (b. 1993) is a Ukrainian photojournalist and documentary filmmaker based in Kyiv. Her work focuses on firsthand storytelling as a method, researching topics of the war generation, post-traumatic stress disorder, and feminism.
Julia studied journalism at Taras Shevchenko National University (UA) and Mohyla School of Journalism (UA), alongside participating in IDFAcademy (NL). As a freelancer, Julia has covered the Maidan revolution (2013-2014), the annexation of Crimea (2014), and the Russia-Ukraine war (2014-now). She is a regular contributor to Der Spiegel, Vice News, Zeit, Bloomberg, The Guardian, amongst others.
In 2023, Julia won the Emmy Award for Outstanding Continuing News Coverage: Long Form with VICE News Tonight and in 2024, just a few weeks ago, was the global winner of the Open Format category in the World Press Photo awards for her multi-media project War Is Personal.
In episode 230, Julia discusses, among other things:
Viewing the war as a long-term project.Not choosing to be a war photoghrapher.Still photographs no longer ‘working’ - importance of text.How her WPP winning project was done ‘last minute’.Her love/hate relationship with Instagram.How all her plans changed in 2014 with the Maidan Revolution.Her documentary film project See You Later.What she means by ‘it’s about the photographs I haven’t taken’.A valuable lesson learned about behaving ethically.How war has deprived her of the capacity for joy.Referenced:
Oleksandr KomiakhovDaria KolomiecWebsite | Instagram
“I’m really grateful that our story is being told by Ukrainian photographers, but it never was about career ambition. We Ukrainian storytellers were never in the position that we chose to become war photographers. I keep saying I’m not a war photographer. I’m photographing war because this is what’s happening in my country. I have zero wish to photograph any other wars. I’m doing this because this is my war. That’s the only accurate skill I have.”
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Michael Ackerman was born in Tel Aviv, Israel, in 1967. When he was seven years old his family emigrated to New York City, where he grew up and began photographing at the age of eighteen. Michael has exhibited internationally and published five books, including End Time City, by Robert Delpire, which won the Prix Nadar in 1999. His other books are Epilogue (Void, 2019) Half Life (Delpire, 2010) Fiction (Delpire, 2001) and Smoke (l'axolotl, 2023). His work is in the permanent collection of The Museum of Fine Arts, Houston, The Museum of Modern Art, New York, The Brooklyn Museum, and The Biliothèque National, France among others, as well as in many private collections.
“In Michael Ackerman’s work, documentary and autobiography conspire with fiction, and all of the above dissolve into hallucination. His photography explores time and timelessness, personal history and the history of places, immediate family and love, with all it’s complexities and contradictions. “ Jem Cohen.
Michael currently lives in Berlin and is represented by Galerie Camera Obscura, Paris, Spot Home Gallery, Naples and MC2 Gallery, Milan.
In episode 229, Michael discusses, among other things:
A little family historyWhy he put that info on his websiteCollating family photos on becoming a fatherWhy he loves New YorkHow he started photography thereBeing ‘very, very slow’Why he uses cheap plastic camerasWhat he likes about photographing animalsMoodAnders PetersenLonging being the human conditionPhotographing ‘life’Text and contextTranscending the facts while keeping a strong hold on a deeper truthHis life in Berlin with an impossible ‘to do’ listReferenced:
Teru KuwayamaSylvia PlachyLorenzo CastoreAnders PetersenRobert FrankMasao YamamotoBoris MikhailovJem CohenWebsite | Instagram
“For me photography is always a negotiation between confrontation and avoidance. And I think my pictures show that. I think my pictures are very intimate and they do get close to something and they are an attempt at getting close, but there’s also a lot of fear in them I see, because I know it in myself, and a lot of solitude.”
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A student at the École Beaux-arts de Versailles (1983–1985), and then at the École Nationale Supérieure d’Art de Bourges (1985-1988), French artist Valerie Belin obtained the French higher national diploma in visual expression in 1988 and also holds a diploma in advanced studies (DEA) in the philosophy of art from the Université de Paris Panthéon-Sorbonne (1989).
Initially influenced by various minimalist and conceptual tendencies, Valérie became interested in the photographic medium in its own right; this is at once the subject of her work and her way of reflecting and creating. Light, matter and the “body” of things and beings in general, as well as their transformations and representations, constitute the terrain of her experiments and the world of her artistic ideas. Her work is articulated in photographic series, each one produced within the framework of a specific project.
Valérie’s work has been exhibited around the world and is held in numerous public and private collections. Winner of the Prix Pictet in 2015 (Disorder), she was made an officer of France’s Ordre des Arts et des Lettres in 2017. This same year, a touring exhibition was co-produced by the Three Shadows Photography Art Center in Beijing, the SCôP in Shanghai and the Chengdu Museum. In 2019, Valérie unveiled a major new series at the Victoria & Albert Museum in London and this year, 2024, she has been named as Master of Photography at Photo London where she will have a major career retrospective.
Valerie lives and works in Paris.
In episode 228, Valerie discusses, among other things:
Her father being an artist at heartThe influence of a particular teacherThe dual influence of American minimal art and Italian baroque artHow she discovered photography and was inspired by a misogynistic teacherNot photographing people initiallyPresence and absenceWhy she chose bodybuilders as her first foray into shooting peopleThe theme of beautyHow women are ‘attacked’ by stereotypesAI being paradoxical to what she wants to showThe importance of Photoshop to her practiceWhere the ideas come fromUse of comic booksMaking a livingRecent series’ ‘Heroes’ and ‘Lady Stardust’.Referenced:
Carl AndreRobert MorrisTony Smith (sculptor)Richard SerraWebsite | Instagram
“I think it’s still true to say I’m very close to my medium and to the hybridation, because if you think of it what is photography today when with the same camera you can make videos, you can make whatever you want? I think we are in a time when you always have a kind of superimposition in your mind, you have several channels on all the time in your mind and maybe my pictures are showing that way of thinking or way of living.”
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Linda Troeller’s art projects focus on self-portraits, women's and social issues. For 20 year she lived in the legendary Chelsea Hotel in New York City, curating an exhibition for the 125th Anniversary, “Chelsea Hotel Through the Eyes of Photographers”, and publishing a monograph of her own entitled Living in the Chelsea Hotel.
Other publications include Healing Waters, The Erotic Lives of Women and her newest book of self-portraits taken over almost fifty years, Sex, Death, Transcendence, published earlier this year (2024) by TBW books. Linda was also the subject of a 2023 feature-length documentary film, also entitled Healing Waters, directed by Derek Johnson and Ali Scattergood.
She has lectured at the School of Visual Arts, NYU, Parsons, Yale, Salzburg Summer Art Academy, New Orleans Photo Alliance, and Ryerson University, Toronto and was a professor of photography at Stockton College of New Jersey, Indiana University, and Bournemouth College, England. She has a MFA, School of Art, and MS, Newhouse School, Syracuse University and BS from Reed School of Journalism, West Virginia University.
Linda lives in New York City and New Jersey.
In episode 227, Linda discusses, among other things:
Modelling on an Ansel Adams book making workshopThe experience of being nude in front of strangersThe spirit of the 60s in the 70s + women’s libHealing watersSocieties expectations of women and ageingHer book, The Erotic Lives of WomenLiving in the Chelsea Hotel for 20 yearsHow Alexander MacQueen influenced her visual paletteHow she has earned a living over the yearsHer TB/Aids projectReferenced:
Lucien ClergueEikoh HosoeGeorge TiceJudy DaterImogen CunninghamJack WelpottRobert HeineckenLee FriedlanderMelissa ShookWebsite | Instagram
“You have to do some work to build up your self confidence, to be your most youness. ‘You’. Youness, herness, hisness, theirness, whatever it is that you wanna to be your most of you can make some strides by looking at yourself and understanding yourself. And if you want to do some more in your presentation you can. And you should.”
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. -
Nicole Tung is a freelance photojournalist. She graduated from New York University, double majoring in history and journalism, and freelances for international publications and NGOs, working primarily in the Middle East and Asia. After covering the conflicts in Libya and Syria extensively from 2011, focusing on the plight of civilians, she spent 2014 documenting the lives of Native American war veterans in the US, as well as former child soldiers in the DR Congo, the pro-democracy protests in Hong Kong, and the refugee crisis in Europe. She is also a grantee of the IWMF Grant for Women’s Stories, and a fellow of the IWMF Great Lakes Reporting Initiative (D.R. Congo, Central African Republic).
She has received multiple awards for her work from the International Photo Awards, Society of Professional Journalists, PX3, and was named PDN's 30 Under 30 Emerging Photographers (2013), among others. Nicole was given the honorable mention for the IWMF 2017 Anja Niedringhaus Awards, and awarded the 2018 James Foley Award for Conflict Reporting from the Online News Association. Her work has been exhibited + screened at the Annenberg Space for Photography, Tropenmuseum Amsterdam, Visa Pour l'Image, and most recently at the Bayeux Calvados-Normandy award for war correspondents in France (2019), with Save the Children in Hong Kong (2019), and at the Foreign Correspondents' Club in Hong Kong (2020). Nicole has also given keynote speeches and contributed to panels on photojournalism and journalist safety, at events including the International Journalism Festival (Perugia, 2019), TEDx in Sweden, the Adobe Make It Conference in Sydney, and Creative Mornings at the National Geographic Auditorium in Washington D.C., among others. She served on the board of the Frontline Freelance Register (2015) and is has undergone HEFAT training with Reporters Instructed in Saving Colleagues (RISC) and Global Journalist Security. She is based in Istanbul, Turkey.
In episode 226, Nicole discusses, among other things:
Notable differences between the war in Ukraine and previous conflicts she has coveredThe modern use of drones in warfareStories she has covered in UkraineThe way she works with publicationsManaging and thinking about riskThe question of whether journalists in conflict zones are more likely to be targeted now than in the pastReactions to her from ordinary people in conflictsThe question of whether photojournalism is an ‘important’ jobThe impacts of social media both negative and positiveApproaching photojournalistic stories in a different wayPotential ways to earn a living other than from commissionsReferenced:
Chris HondrosTim HetheringtonMarie ColvinRemi OchlickJames FoleyWebsite | Instagram
“If you don’t become trapped in this idea that what you do is so precious and be real about the impact and the degree to which images and photojournalism can go, especially if your intentions are good, you’re based in reality at least. Your grounded in a certain reality where you go “I know my images aren’t going to stop a war tomorrow but at least I can be a part of that documentation process.” And to me that is important. Why shouldn’t we be showing a reflection of our collective humanity that is both ugly and beautiful at the same time? There are so many grey areas. The world is not black and white.”
Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.Follow me on Instagram here.Build Yourself a Squarespace Website video course here. - もっと表示する
