A Small Voice: Conversations with photographers and filmmakers

Ian Berry was born in 1934 in Lancashire, England. He made his reputation in South Africa, where he worked for the Daily Mail and later for Drum magazine. He was the only photographer to document the massacre at Sharpeville in 1960, and his photographs were used in the trial to prove the victims' innocence.
Henri Cartier-Bresson invited Ian to join Magnum in 1962, when he was based in Paris. He moved to London in 1964 to become the first contract photographer for the Observer Magazine. Since then assignments have taken him around the world: he has documented Russia's invasion of Czechoslovakia; conflicts in Israel, Ireland, Vietnam and the Congo; famine in Ethiopia; and apartheid in South Africa. The major body of work produced in South Africa is represented in two of his books: Black and Whites: L'Afrique du Sud and Living Apart (1996).

Important editorial assignments have included work for National Geographic, Fortune, Stern, Geo, national Sunday magazines, Esquire, Paris-Match and Life. Berry has also reported on the political and social transformations in China and the former USSR. Recent projects have involved tracing the route of the Silk Road through Turkey, Iran and southern Central Asia to northern China for Conde Nast Traveler, photographing Berlin for a Stern supplement, the Three Gorges Dam project in China for the Telegraph Magazine, Greenland for a book on climate control and child slavery in Africa.
Ian’s recent book, Water (GOST Books, 2022), brings together many classic images from Ian’s extensive archive with material shot over the course of 15 years travelling the globe to document the inextricable links between landscape, life and water. This new book brings together a selection of the resulting images which collectively tell the story of man’s complex relationship with water — at a time when climate change demonstrates just how precariously water and life are intertwined.
 
In episode 213, Ian discusses, among other things:
How all the pics in Water came to be used as B&W
How the project came about
How he got into photography
How he came to be the only photographer at the Sharpeville Massacre
The importance of luck
Getting into Magnum after a tea with HCB and a disasterous first meeting
Changes in Magnum over the years - and photography in general
The controversy over David Allan Harvey and the subsequent action by Magnum
Everything being ‘too woke’
Learining from other people and looking at contact sheets
 
Referenced:
Stuart Smith
Abbas
Roger Madden
Drum Magazine
Tom Hopkinson
The Sharpeville Massacre
Michele Chevalier (Visa)
Marc Riboud
Reni Burri
Henri Cartier Bresson
Burt Glinn
Peter Dench
David Allan Harvey
Steve McCurry
Bruce Davidson
Philip Jones Griffiths
Gilles Peress
Bruno Barbey
Werner Bischof
 
Website | Instgram
“I brought along my contact sheets which Henri spent ages going through. And he said ‘great, good to have you’. And I went back upstairs afterwards and they said ‘fine, you’re in Magnum.’ And that was it…”


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Richard Sharum is an editorial and documentary photographer based in upstate New York. Mainly focusing on socio-economic or social justice dilemmas concerning the human condition, his work has been regarded as in-depth, up-close and personal.
Selected exhibitions have occurred in Kyoto, Japan, Sao Paulo, Brazil, Reggio Emilia, Italy, New York City, Boston, Chicago and Dallas, and his work has been added to the permanent collection of the Jordan Schnitzer Museum of Art and The Wittliff Collection, as well as others.
Richard's commissions include those by The Meadows Foundation, Centers for Community Cooperation, Harvard Law School, Student Conservation Association, Children's Medical Center (Oncology), Children's Cancer Fund.
His publications include those by LFI (Leica International), British Journal of Photography, LensCulture, The Atlantic, Texas Monthly, Publico (Portugal), El Pais (Spain), Observer (UK), The Wall Street Journal, B+W Photo Magazine, Huck Magazine, Glasstire, PATRON, Creative Review, among others.
Richard has published two photobooks, Campesina Cuba and Spina Americana, both with GOST. His third, American Homicide, will be released early in 2027, also by GOST. The last two of these titles will be joined in 2028 by American Avenue, to form a trilogy of books entitled Of Thee I Sing.
He is represented by The Hulett Collection, Tulsa, Oklahoma.

On episode 290, Richard discusses, among other things:
His goal of reaching a wider audience among the general public.
Team window vs. team mirror
His new book American Homocide
The fascination for true crime among the public
How murder affects all the groups involved
Getting access to the detective squad he embedded with
The portrayal of violence on screen
His obsession with time
The need to be empathetic and open
The impact of being exposed so many murder victims
The murder detectives he got to know and photograph
Corresponding with the perpetrators
Part three of his planned trilogy, American Avenue
The state of the photobook industry and the unfairness of the current system
Referenced:
W Eugene Smith
Sebastião Salgado
James Nachtwey
Larry Towell
Leonard Freed
Susan Meiselas
Gordon Parks
Website | Instagram | Lecture at Columbia


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Clémentine Schneidermann is a French photographer living and working between Paris and South Wales. She recently completed a practice-based PhD at the University of South Wales, Cardiff entitled Photographing Children in a Social Context: Narratives and Strategies (2021). Clémentine works on long term projects & commissions and is interested in new creative practices in social documentary photography. Her approach is collaborative and playful, with an interest in communities and childhood, as well as our relationship to identity and culture. She is a co-founder of Bleak Fabulous with Charlotte James, a  photography-based creative studio working across different disciplines with an emphasis on communities and collaboration.

On episode 289, Clémentine discusses, among other things:

How having a camera made it acceptable to stare at people

Studying in Switzerland… and then Newport, Wales

Falling in love with Wales immediately

Her book project, I Call Her Lisa Marie

Her project Ffasiwn

Collaborating with kids… and Charlotte James

Getting involved with Alexander MacQueen

Her forthcoming book marking ten year of Ffasiwn

Bleak Fabulous - trying to create stable income

Winning the Taylor Wessing Portrait Prize

Work she has done in Greenland

Her other collaboration: The Emmas

Referenced:

Mary Ellen Mark

Sebastian Bruno

Bruce Davidson

David Barnes

Ken Grant

Paul Reas

Lina Hashim

Jacob Aue Sobol

Website | Instagram


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Aria Shahrokhshahi (b. 1996) is a British-Iranian multi-disciplinary artist, whose practice has been shaped by a deep fascination with the intricate dynamics of diverse communities and the complexities of the human condition. With a focus on social structures and the human experience, Shahrokhshahi's work serves as a critical exploration of the relationships and power dynamics that inform everyday life.

Aria’s debut photobook, Wet Ground, featuring images from Ukraine shot over a period of several years both before and after the Russian invasion in Feburary 2022, was published in April 2026 by Loose Joints.

He is currently putting the finishing touches to a feature documentary film entitled While We Heal, which also focusses on the war in Ukraine and explores the themes of healing, loss, and resilience.

 

On episode 288, Aria discusses, among other things:

Formative experiences (11 different schools!) growing up in Nottingham

How walking around the city with a camera was the start of his photography journey

Negative feedback Facebook group / YouTube channel

Early education at the Photo Parlour lab (later named Sequence) from Dan Wheelan

Using large format and why the decision to shoot B&W came out of the cost of film

Falling in love with Ukraine

It not being enough to just take pictures

Why ‘Ukraine, I guess?’ was an informal category of picture during editing

Having nothing to say about war but being interested in what happens around it

The way in which war rearranges the social hierarchy

Poem by Charlotte Shevchenko-Knight

How the title ‘Wet Ground’, and the book itself, came about

The importance of collaboration

The feature length doc he is making in Ukraine

The importance of having a commercial practice

Referenced:

Lee Friedlander

Laytoya Ruby Frazer

Don McCullin

Tim Hetherington (Which Way Is The Front Line From Here)

Shelby Lee Adams

Minor White

Alec Soth

Gregory Halpern

Nigel Shafran

Alessandra Sanguinetti

Myriam Boulos

Sohrab Hura

Lightwork

 

Website | Instagram


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Lorenzo Meloni is an Italian photographer.

He has documented some of the defining conflicts of the 21st century across the Middle East, North Africa and Asia. For more than a decade, he has worked in territories marked by wars, revolutions and profound political and social transformations, developing a visual practice that views conflict not merely as an event, but as a historical, material and cultural process.

In recent years, his work has expanded beyond the battlefield. Revelation, an ongoing project, explores how science and technology are changing our relationship to the material world.

In 2022, he published the monograph We Don’t Say Goodbye, a fragmented narrative on the rise, dominance and fall of the Islamic State as a territorial entity. TIME named it one of the 20 Best Photobooks of 2022.

On episode 287, Lorenzo discusses, among other things:

How he has changed his way of working

'Starting as a revolutionary and becoming a deserter'

How his photography journey began in Yemen

How the power of photography is metaphorical not descriptive

His interest in borders and history

His book, We Don’t Say Goodbye. The theme of repetition. And why the cover is orange

The caliphate and Islamic State

His now project, Revelation

Focussing on one thing at a time

Dealing with the instability of a freelance life and keeping some freedom


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