FLOW PHOTOGRAPHICA PODCAST – Détails, épisodes et analyse

In this episode, I sit down with Wolf Suschitzky, legendary photographer and cinematographer. We met at his home in Little Venice, London, where we talked about his incredible career, spanning over 70 years in both photography and film.

Born in Vienna in 1912, Wolf fled Austria in 1934 as the political climate worsened for Jews. Settling in London, he quickly established himself as a cinematographer and photographer. Over his career, he worked on over 200 films, including Get Carter, Ulysses, Ring of Bright Water, Entertaining Mr. Sloane, and the film adaptation of Rising Damp.

Wolf’s early career was shaped by the British documentary movement, working with John Grierson and pioneering filmmakers such as Harry Watt and Paul Rotha. He was cameraman for Night Mail (1936), the iconic documentary with narration by W.H. Auden and music by Benjamin Britten. His cinematography in World of Plenty (1943) helped define the humanistic style of British documentary filmmaking.

Beyond film, Suschitzky was a renowned social documentarian, photographing London’s street markets, working-class life, children, and laborers. His work in Charing Cross Road, Soho, and post-war Britain captured the texture of everyday life with rare intimacy.

This conversation offers a glimpse into Wolf’s thoughts on photography, cinematography, and the art of capturing reality. Though frail, his mind remained sharp, and his love for his craft was undiminished.

• Biography & Legacy – National Galleries of Scotland

• Books & Photography

• Charing Cross Road in the Thirties – Amazon

• Street Markets of London – Photobook Details

• Exhibitions – Wolf Suschitzky at the Photographers’ Gallery

• Get Carter (1971) – IMDb

• Ulysses (1967) – IMDb

• Ring of Bright Water (1969) – IMDb

• Entertaining Mr. Sloane (1970) – IMDb

• Rising Damp (1980) – IMDb

• John Grierson (Father of British Documentary Film) – Biography

• Harry Watt (Filmmaker, Night Mail) – Biography

• Paul Rotha (Director, World of Plenty) – Biography

• W.H. Auden (Poet, Night Mail) – Biography

• Benjamin Britten (Composer, Night Mail) – Biography

• Night Mail (1936) – BFI Player

• World of Plenty (1943) – BFI Screen Online

Notable Publications:

• "Photographing Children" (1940): A guide offering insights into capturing the essence of childhood through photography.

• "Photographing Animals" (1941): This book provides techniques and tips for photographing animals, with a foreword by Julian Huxley.

• "Seven Decades of Photography" (2006): A retrospective collection showcasing Suschitzky's black and white prints spanning over seventy years, selected by the artist himself.
  amazon.com

• "Work" (2020): A compilation focusing on Suschitzky's portrayal of labor and working environments, reflecting his deep engagement with social themes.

Notable Exhibitions:

• "A Grand Tour: Amsterdam, London, Paris etc. in the 1930s, 40s & 50s" (2006): Held at The Photographers' Gallery in London, this exhibition featured Suschitzky's works capturing urban life across major European cities during the mid-20th century.
  photography-now.com

• "Wolf Suschitzky – No Resting Place" (2020): Hosted by Fotohof in Salzburg, this exhibition showcased a comprehensive collection of Suschitzky's works, emphasizing his contributions to photography and cinematography.

• "Crawley New Town Seen Through the Lens of Wolf Suschitzky" (February 6 – March 29, 2025): Displayed at Crawley Museum, this exhibition featured photographs capturing the early development of Crawley New Town, returning to the public eye after six decades.
  blogs.brighton.ac.uk

• "Wolf Suschitzky Photography Prize 2023" Exhibition: Organized by the Austrian Cultural Forum London, this exhibition showcased works by winners and shortlisted photographers, celebrating Suschitzky's legacy and influence on contemporary photography.
  acflondon.org

On the 19th of April 2019 I met the legendary Sir Don McCullin—a man whose photographs have shaped the way we see war, suffering, and the stark divides in British society. McCullin, now in his eighties, has turned his lens to the landscapes of Somerset, but his past work in Vietnam, Biafra, Northern Ireland, and beyond remains some of the most powerful photojournalism ever created. This conversation, recorded in April 2019, was never intended for broadcast, but I’m grateful to be able to share it with you now. It’s raw, intimate, and filled with the kind of wisdom only a life lived at the sharp edge of history can provide.

I start by tracing McCullin’s early life—born in 1935 in Finsbury Park, a rough corner of North London, where class and poverty shaped his world. We talk about his first significant photograph, The Guvnors, a portrait of his local gang taken in the shell of a bombed-out building. That single image, sold to The Observer, set him on the path to becoming one of the most respected war photographers of the 20th century.

McCullin speaks candidly about the moral weight of war photography—what it means to witness human suffering and the impossibility of remaining untouched by it. He recalls the Vietnam War, the famine in Biafra, the Troubles in Northern Ireland, and the brutal realities he encountered. His black-and-white images are defined by their unflinching honesty and a darkness that isn’t just about exposure—it’s about truth.

One of the most fascinating parts of our conversation is McCullin’s discussion of his time in the darkroom. His prints are legendary for their deep blacks, their richness, and their meticulous craftsmanship. He describes the long hours spent perfecting a single print, the unpredictability of chemistry, and the frustrations and triumphs that come with analogue photography.

In his later years, McCullin has turned away from conflict zones to focus on the landscapes of England, particularly Somerset, where he has lived for decades. He talks about the tranquility he finds in these images but also acknowledges that even in the stillness, there’s something unresolved. “England,” he says, “is still a battlefield—just a different kind.”

We reflect on the state of photography today—the dominance of digital, the fleeting nature of images in the age of Instagram, and the disappearing art of the darkroom. McCullin is, in his own words, “an old donkey in the meadow,” but his insights remain razor-sharp.

• Don McCullin’s Official Website: donmccullin.com
• Tate Britain Exhibition (2019): tate.org.uk
• Hauser & Wirth’s ‘The Stillness of Life’ (2020): hauserwirth.com
• Palazzo Esposizioni Roma Exhibition (2024): palazzoesposizioniroma.it

Speaking with Don McCullin was a rare privilege. His images have shaped history, and his voice—both as a photographer and as a man—remains one of the most important in the field. If you’re moved by this conversation, take some time to explore his work, visit an exhibition, or pick up one of his books.

As always, let me know what you think. If you’re listening on YouTube, drop a comment. If you’re listening on a podcast app, leave a review. Your thoughts mean the world to me.

This episode is a recording of my piece for Black+White Photography Magazine issue 193.

This article is all about the importance of a sense of purpose to photographic projects. I argue that it is not enough just put out a few pictures and hope that people 'connect'. Rather that the photographer must nail his or her reputation to each project and dig deep to provide an urgent reason why anyone else should spend time in the company of their photographs.

If you want to take issue with me on something arising from the podcast - don't hesitate! Head over to the Photographic Podcast website and let me know what you think.

Please let others know about the Photographica Podcast by rating us in iTunes  - and your are welcome to leave a comment too. It really is the best way to get the message out.

If you'd like to discuss printing your work you can get in touch with me at alex@flowphotographic.com or visit the Flow Photographic website.

Thanks for listening,

Alex 

PS Thanks to Chad Lelong for the music!

Another stroll down Portobello Road on a Friday afternoon with Alex Schneideman. On his mind this week are:

The role of photographers and artists in the new hard-right mainstream political landscape.

• The problems of engaging with the Turner Prize.
• A minor road rage incident.
• Buddhism and self sticks.

Please get in touch with alex at alex@flowphotographic.com or @schneideman331 on twitter.

Please forgive occasionally poor delivery - I've got a lot on my mind...

Thanks for listening...

This episode is a recording of my piece for Black+White Photography Magazine issue 192.

It questions the value of sharpness as a goal in photography and offers new ways to view photography in a world that values 'high definition' above many other qualities.

If you want to take issue with me on something arising from the podcast - don't hesitate! Head over to the Photographic Podcast website and let me know what you think.

Please let others know about the Photographica Podcast by rating us in iTunes  - and your are welcome to leave a comment too. It really is the best way to get the message out.

If you'd like to discuss printing your work you can get in touch with me at alex@flowphotographic.com or visit the Flow Photographic website.

Thanks for listening,

Alex 

PS Thanks to Chad Lelong for the music!

In which your host muses and rambles (simultaneously) down Portobello Road with a hangover draped around his shoulders. Still, between waves of nausea some interesting raw material is mined from the sodden peat of Alex's exhausted brain. 

Have a listen...

Oh and don't forget to rate us at iTunes...

Thanks,

Alex

alex@flowphotographic.com

flowphotographic.com

This episode is a recording of my piece for Black+White Photography Magazine issue 191. 

It concerns the relationship between photographers and their cameras. 

You can see a fully illustrated transcript of this article on my blog. Click here.

If you want to take issue with me on something arising from the podcast - don't hesitate! Head over to the Photographic Podcast website and let me know what you think.

Please let others know about the Photographica Podcast by rating us in iTunes  - and your are welcome to leave a comment too. It really is the best way to get the message out.

If you'd like to discuss printing your work you can get in touch with me at alex@flowphotographic.com or visit the Flow Photographic website.

Thanks for listening,

Alex 

PS Thanks to Chad Lelong for the music!

THIS IS AN EDITED VERSION OF THE ORIGINAL PODCAST - MUCH REDUCED IN LENGTH BY CUTTING OUT ALL THE EXTRANEOUS CONTENT. NOW ITS JUST THOUGHTFUL CONVERSATION...

On July 8th 2016 I travelled to Oxford to meet Paddy Summerfield in the house he has lived in since he was 18 months old and, more particularly, the house that served as backdrop to his 2014 masterpiece 'Mother and Father' (published by Dewi Lewis). 

Paddy and his partner Patricia Baker-Cassidy live in an Edwardian villa in Oxford's Summertown where they work together to bring a lifetime of photography to the surface.

This year Dewi Lewis has published another collection of Paddy's work, 'The Oxford Pictures 1968-1978' which are a languorous and sexually charged examination of loneliness and self discovery. Paddy has always shot on 35mm and the images in this book are exquisitely reproduced from scans and printed at the legendary EBS printers in Italy which were also the printers of my book, 'Want More' in 2015.

This conversation is easily the longest I have published but it is necessarily so because Paddy is engaging on the subject of photography and candid when he talks about life in general. He is a true photographer in that his life is defined by the images he makes. His energy and ambition to keep publishing his extensive work comes from a desire to represent his world and not, as is often the case, from the ego. 

Please take time to listen to the piece; listen to it win tranches if necessary, as it really is worth the effort.

Alex Schneideman July 2016

All images © Alex Schneideman, 2016

Links

New York Times T Magazine

Photomonitor

CPM Conscientious Photography Magazine

Listen in stereo as I take a second walk down a very sunny Portobello Road. This time I was thinking about:

• Chimping and the new screenless Leica MD, affectation and self imposed perfectionism.
• Harry Gruyaert.
• Jolyon Fenwick and his pictures of WW1 battlefields, 'ZERO HOUR'

and an amazing busker...

Don't forget to get in touch with me at alex@flowphotographic.com or checkout flowphotographic.com to learn about our work printing photography at FLOW.

Thanks, 

Alex

This piece appears in the June edition of Black and White Photography magazine. The magazine have very kindly allowed me to record my monthly column, Thinking Photography, for the PHOTOGRAPHICA podcast.

Please checkout more info at the podcast page on my new website, flowphotographic.com.

TRANSCRIPT B+W190 THINKING PHOTOGRAPHY  

ON CONTEXT

ˈkɒntɛkst/

noun

the circumstances that form the setting for an event, statement, or idea, and in terms of which it can be fully understood.

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To give your work context is to give it meaning to the wider world. Without context our work may seem irrelevant. With context our images connect to the intricate dynamic of human experience enabling people to form a bond with it. The purpose of this piece is to focus on a consideration that we all know to be true, is not often discussed and can have a great impact on our photographic legacy.

In my last article I spoke of the creation of art as being the act of bringing attention to the abstract. This is a good way to start looking at the concept of context; in observing something and making an exposure you have effectively placed your subject in its own context – one that has meaning for you. This initial personal contextualisation gives the impetus required for the photographer to capture the image and give him or her the reason to commit to it. Let's say this is called 'primary context'. At this stage all sorts of nuances, details and fluctuations of meaning are either consciously or subconsciously known by its originator.

Now a selection of images is made perhaps for an exhibition, a book or entering into a competition. At this stage ‘secondary contextualisation’ is required. As your images transfer from the private world of their inception and selection to the public world of arbitrary engagement those qualities and ideas in your work will be lost unless you can elicit some control over how they are viewed.

The viewing public do not have the visual acuity, time or inclination to engage with your images as you would wish so you must help them by controlling the environment in which your work is seen. The key here is to concentrate the viewer’s gaze on your work without distraction. This needs to be done both practically and conceptually. A frame is a ‘practical’ conxtextualising tool Here the border allows the elements of the image to live in their own world – a world defined and delineated as something different but the wooden surround. A secondary or ‘conceptual’ context can be described by imagining the power of a solo show at the Tate versus the display of some work in a village hall. The same pictures may be exhibited but to different effect by leveraging gravity by association.

These suggestions are all vital aspects of placing your work in the right ‘light’, perspective or context. This is a report from the front line of working with photographers over many years but it is not exhaustive. The craft of placing your work in the right context might come to you instinctively or not. It doesn’t matter – context is essential when it comes to generating the most effect from showing your work. Context is relevance. It can’t be put simpler than that. Ignore it at your peril.

Here are some observations made during my time printing for photographers all over the world. I’ve had a chance to examine success and failure at close hand and these notes reflect some of the lessons I’ve learned.

ONLINE

It is too easy to show your images to many people. Flickr, Facebook, Instagram and the like all make the exposition of your work almost automatic. But, unless your pictures are connected to an event or cause, these media are disastrous for preserving the gap between the metaphysic truth of your images and the prosaic mess of the world around them. Your work needs space – space to make its own case. It is much better to use these media to bring people to your own website.

WEBSITES

Picture editors and curators have told my so many times that websites need to fulfill only two functions; clear visibility of images and ease of navigation. That’s it. A website does not need to be pretty – simply functional allowing the work to ‘speak’.

GROUP VERSUS SOLO SHOWS

When showing prints avoid group shows – they do nobody’s work any favours. Instead commit to your images and find a space where they can be shown on their own. Group exhibitions have the benefit of bringing more people in to view your work and they can be effective for people starting out but they are messy, prone to compromise and have the effect of degrading the power of your work especially when your work is adjacent to a weaker display. The aforementioned ‘village hall’ is a better environment to display your work than risking contamination by acquaintance with poor images.

PRESENTATION

Framing is over considered. You cannot reinvent photography with a stunning frame. Keep it simple and make all your pictures the same size so that the viewer can ‘tune out’ the ancillary details and concentrate on the actual images.

iPads are great for casually showing your work but we automatically devalue the work on show because screen images are so pervasive in our visual lives.

Hanging pictures is crucial to their impact. Poor hanging will reduce the power of your exhibition by a huge amount. Make sure that frames are neat and clean and hung so that they are dead straight. Failure to do this makes you look like an amateur (I mean this in the pejorative sense!). Neat hanging is more important than correct exposure for the purposes of connecting with viewers.

PORTFOLIOS

A set of prints in a clamshell portfolio box is endures as a good way to show your work. Allow wide borders (go up a paper size to incorporate this) and you get the double benefit of being able to handle prints (matte paper cleans up very well – direct message me and I’ll tell you how) and the separation from the environment that every good shot deserves.

CURATING A SELECTION

Loose a third. Some of my clients refer to the process of selection as ‘drowning your babies’ – a horrific term but one that sums up the process well. Your final selection should hurt. There will be loved pictures left behind because they weaken the ‘whole’.

Agree or disagree? Let me know at @schneideman331 or email me at alex@flowphotographic.com