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. The most recent 50 episodes are on this free feed, 200+ more are in the archive!
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As a teenager I wanted to be a professional journalist and an amateur photographer. This was a perfectly good and eminently attainable goal for a bright, lower-middle class fifteen year old boy to have. So, for reasons that are too complicated to explore here, I promptly set about dismantling any prospect of achieving it in a miasma of Marlboro reds and vast quantities of Pakistani Black. After hundreds of identical misspent nights in the White Hart, a relentless pursuit of any and all self-destructive displacement activites, and a brief detour into the cul-de-sac of a media production degree, the ‘dream’ was eventually realised when I sat down in front of a portable typewriter (old sckool, y’all) and became a freelance journalist, contributing features on a diverse range of subjects to a wide array of publications from specialist magazines to national broadsheets.
This arrangement was soon to change, however, when a long-standing love of photography was re-ignited by a short succession of annual pilgrimages to the World Press Photo exhibition at the Barbican in London. Instinctively feeling - or perhaps hoping - that I may have caught a glimpse into my future, I enrolled on a post-graduate diploma in photojournalism at the London College of Printing, after which I managed to combine both disciplines before ultimately electing to focus on the photography. Thus the adolescent ambition was fulfilled, but arse about backwards.
Then a bunch of other stuff - aka ‘life’ - happened; I worked consistently as a freelance editorial photographer (though never really as much as I should have); had an all too brief foray into the big bucks of commercial and lifestyle commissions; made sure I torpedoed every opportunity to progress that came my way lest I might have to face the terrifying prospect of success; and more or less sleep-walked zombie-like through what should have been the best years of my life. Thankfully the Marlboro reds and Pakistani Black, and indeed the endless, Groundhog Day nights in the pub, had long since lost any allure they may have once had. As, to be brutally frank, had photography and just about everything else.
Anyway, then a bunch more stuff happened, most of which (with the notable exception of my inexplicably becoming a father) was less than fascinating. In 2015 I decided to start a photography podcast. I’ve written about the reasons for this in my blog but the truth is it was what the Americans might call a ‘hail Mary pass’. A last ditch attempt at dragging myself out of the mire of self-flagellation, regret, disappointment and depression in which I found myself. I’ve come to realise that though I seem to lack the confidence and self-belief to really succeed and thrive, I can at least always muster the necessary resources to save myself from oblivion. Such was the case in September 2015 when I started this podcast. As Marc Maron once put it when asked whether he could have imagined when he started his podcast eventually interviewing the President. “I didn’t imagine anything. It was an alternative to suicide!”
Thanks for listening. I really mean that. Here’s to the next 100 episodes. I’ll do them as well as I can, keeping in mind my aforementioned podcasting hero’s beautiful words of advice: try to act from your heart, no matter how broken it is.
“Never believe you’ve played your last hand... Never believe you've played your last hand. There’s always more cards coming.”
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000 - Ben Smith (intro)
0
jeudi 10 septembre 2015 • Durée 03:42
Photographer, Ben Smith introduces a new weekly photography podcast: 'A Small Voice: Conversations With Photographers' and answers a few 'frequently anticipated questions.'
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239 - Kiana Hayeri
Épisode 239
mercredi 11 septembre 2024 • Durée 01:13:44
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.
240 - Robbie Lawrence
Épisode 240
mercredi 25 septembre 2024 • Durée 01:19:33
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.
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, Agnieszkadiscusses, among other things:
Early years travelling to Communist Poland
Wanting to assimilate into the USA as an immigrant
Early education in photography at Mass. Art
242 - Polly Braden
Épisode 242
mercredi 23 octobre 2024 • Durée 01:16:53
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 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, Pollydiscusses, among other things:
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244 - Stephan Vanfleteren
Épisode 244
mercredi 20 novembre 2024 • Durée 01:17:02
Stephan Vanfleteren's career began as a staff photographer for the Belgian newspaper De Morgen. He continued to contribute to its weekend magazine as a freelancer until 2009.
His radical black and white social documentary work covers the disappearing phenomena of everyday life in his homeland, Belgium. Over the years, Stephan has worked in conflict zones such as Kosovo, Rwanda and Afghanistan and he is a six time winner of the prestigious World Press Photo awards among a number of other international prizes.
Stephan's intense portrait photography captures the essence of humanity in subjects ranging from the ordinary man to top politicians, sports idols and celebrities.
He has exhibited in Brussels, Amsterdam, Berlin, Paris, London, Liverpool and Verona and his books include: Elvis & Presley (Kruse Verlag, 2001) a road trip across America dressed as Elvis Presley with photographer Robert Huber; Flandrien (Mertz, 2005) on the Flemish obsession with cycling; Belgicum (Lannoo 2007) an enigmatic portrayal of Belgium and Portret 1989-2009 (Lannoo 2009). His most recent books are Atelier published by Hannibal Books, an ode to the ability to observe, represent, elevate, and ultimately, connect, and Present, a journey through his oeuvre, with expansive personal reflections and stories from three decades of encounters and photography, from street photography in world cities like New York to the genocide of Rwanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits, and Charleroi – Il est clair que le gris est noir.
In episode 244, Stephandiscusses, among other things:
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246 - The Year In Review 2024
Épisode 246
mercredi 18 décembre 2024 • Durée 01:21:41
Featuring:
Richard Kalvar
Natalie Keyssar
Lorenzo Castore
Edward Burtynsky
Mitch Epstein
Nicole Tung
Linda Troeller
Valerie Belin
Michael Ackerman
Julia Kochetova
Chloé Jafé
Debi Cornwall
Louis Quail
Abdul Kircher
Diana Matar
Kiana Hayeri
Robbie Lawrence
Agnieszka Sosnowska
Polly Braden
Stephan Vanfleteren
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“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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“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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“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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“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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“I was very scared of success. That was maybe my luck. Success was something I had difficulty dealing with. People are complimenting you on your work at the beginning and I’m just accepting that but it was difficult. And it helped me because I never arrived. I was on my way and the doubts were still there. If you think you know how to do it, it’s time to leave. Sometimes if I think ‘ok, I can do that pretty well, Of course other people can do it better, but it’s time to change, to have another approach…’ So I had that in the early beginning, that feeling that I have to change. I love to begin something new.”
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