Talking Frames

In this episode Tim Bingham is joined by Gus Powell for a wide-ranging conversation about photography, creativity and the experiences that have shaped his distinctive approach to making pictures.

Although widely recognised for his street photography, Gus's work reaches beyond the conventions of the genre. His photographs often find meaning in subtle gestures, unexpected juxtapositions and moments that might otherwise pass unnoticed. Rather than searching for the extraordinary, he is interested in what happens when we pay closer attention to the ordinary. We explore how this way of seeing developed and why remaining curious is so important to his creative process.

The conversation moves through the influences that have shaped Gus’s thinking, including the unexpected connections between photography, poetry and everyday life. We discuss the role of mentorship, the importance of learning to see differently and how experiences outside photography can profoundly influence the way we make pictures.

Editing and sequencing are also central to our discussion. Making photographs is only one part of the process; deciding which images belong together, how they relate to one another and what emerges from their arrangement can be just as important. Gus reflects on the challenges of developing a coherent body of work and the discoveries that can happen when photographs are brought together.

We also explore his fascination with the photobook and the relationship between photographs, design and the physical object. For Gus , a book is much more than a collection of images. It is an opportunity to experiment, make connections and create an experience for the reader that goes beyond looking at individual photographs.

As the conversation develops, we touch on the personal experiences behind some of his work, the unpredictable nature of creative projects and the importance of allowing ideas to evolve. We also discuss what happens when an established photographer steps outside familiar territory and begins exploring new ways of working.

Throughout the episode, one question keeps returning: how do we remain open to the world around us, especially when we think we already know how to see it?

For photographers interested in street photography, visual storytelling, photobooks or the creative process itself, this is a conversation full of ideas to take away and consider.

Gus Powell Website

Gus Powell Instagram

Talking Frames Podcast Instagram

In this episode Tim Bingham is joined by Michael Young

Michael discusses his journey from a 20-year career in corporate finance to becoming a full-time photographer and educator. Photography began as a form of healing after the death of a friend, whose Pentax camera Michael acquired. His creative background in musical theatre, music, and breakdancing strongly influenced his photographic approach, particularly his sensitivity to movement, timing, light, and shadow.

Michael talks about developing his street photography through ideas such as Henri Cartier-Bresson's “Decisive Moment,” learning from other photographers, and finding compositions where the world can unfold naturally. His move from Brooklyn to the Bronx also transformed his relationship with the borough. Through photography, he began seeing beauty, humanity, and everyday stories that had previously been overlooked, creating an ongoing visual archive of the Bronx.

His work is deeply connected to community and personal experience. Projects such as his photographs of Black fathers and children led to inclusion in Framing Fatherhood and an exhibition at Photoville, while his series Sometimes I See Michael explores his father's experience with homelessness and the human condition without resorting to stereotypes.

Michael credits mentors including Jamel Shabazz, Richard Sandler, and Mike Camber with helping him develop as a photographer and understand photography as a form of connection and “visual medicine.” His involvement with the Bronx Documentary Center eventually led to his work as an education coordinator, where he teaches seniors, veterans, and intergenerational groups.

Teaching has become an important part of Michael's practice. He describes photography as a source of validation and healing for his students, particularly seniors who had never experienced having a professional portrait taken.

Ultimately, his story is about photography as more than image-making: it is a way of healing, building community, documenting the Bronx, and helping people feel seen.

Michael Young website

Michael Instagram

Some people named in this episode

Jamel Shabazz

Richard Sandler

Joseph Rodríguez

Michael Kamber

Renzo Grande

Laura james

Bronx Documentary Centre

In conversation Tim Bingham is joined by Richard Sandler and explores how one of New York’s most distinctive street photographers developed his eye, his craft and his philosophy of seeing. Richard reflects on an unconventional upbringing in New York, early encounters with creativity, and the winding path that eventually led him to photography. He talks about the mentors who shaped him, the analogue traditions that grounded his work, and the instinctive approach that became central to his style.

The discussion moves through Richard’s return to New York during a turbulent era, his fascination with the city’s energy, and the discipline required to photograph while raising a child alone. He shares insights into how photographers learn to see — the relationships between movement, stillness, foreground and background — and how a single frame can hold humour, tension and contradiction at once.

Throughout the conversation, Richard reflects on the role of craft, authenticity and mistakes in shaping a photographer’s voice. He also touches on the unexpected stories that sometimes emerge from his images years later, revealing how photographs can continue to evolve long after they’re taken.

This episode is ultimately about curiosity, mentorship, and the lifelong process of learning to observe the world with clarity and intention.

Richard Sandler Website

Richard Sandler Instagram

Talking Frames Instagram

https://www.instagram.com/ohstop1946/

The conversation between Tim Bingham and Julie Hrudová offered a fascinating insight into her distinctive approach to photography, creative storytelling, and the long-term projects that have defined her career. Throughout the discussion, Julie revealed how curiosity, careful observation, and a sense of humour lie at the heart of her work, whether she is producing commissioned assignments or pursuing deeply personal documentary projects.

A significant part of the conversation focused on her ongoing commission for Amsterdam's leading newspaper, Het Parool, where she creates a full-page vertical street photograph every week. Rather than viewing creative limitations as restrictive, Julie explained that they often become the catalyst for stronger work. Working within clearly defined parameters—whether shooting exclusively in a vertical format, using black and white, or concentrating on a specific neighbourhood—encourages her to look more closely at familiar surroundings and discover photographs that might otherwise be overlooked. For Julie, constraints provide focus, consistency, and a framework that nurtures creativity rather than suppressing it.

Julie reflected on the two major photographic series she has created for Het Parool. The first documented Amsterdam during the COVID-19 pandemic, capturing a city that had suddenly become quiet, empty, and unfamiliar. Photographing these transformed streets presented both creative and emotional challenges, forcing her to find visual stories in an environment stripped of its usual energy. Her current project explores Amsterdam after dark, where artificial light, shadows, and reflections reshape ordinary streets into cinematic, atmospheric scenes. She described how the city's diverse neighbourhoods, cultures, and vibrant public spaces ensure there is always another story waiting to be discovered.

One of Julie's most celebrated personal projects centres on Amsterdam's urban herons. What began as an observation of birds living within the city evolved into a thoughtful exploration of the relationship between wildlife and the people who unknowingly—or intentionally—support them. By documenting these subtle interactions, Julie reveals how nature adapts to urban life and how humans and animals quietly coexist in shared spaces. The project struck a chord with audiences because it encouraged people to see their own city from an entirely new perspective, uncovering moments of wonder hidden within everyday routines.

Drawing on her experience as both a photographer and a photo editor, Julie discussed how an understanding of the editorial process can help photographers present and pitch stories more effectively. She explained that the responsibilities of photo editors have changed considerably in recent years, with increasing emphasis on avoiding stereotypes and creating more balanced visual representation. At the same time, she expressed concern that the rapid pace of social media has encouraged many news organisations to prioritise speed over depth, making carefully researched documentary photography more valuable than ever.

The conversation also provided practical advice for photographers looking to develop stronger bodies of work. Julie believes many photographers weaken their projects through poor editing, weak framing, or by including too many images that communicate the same idea. She emphasised that effective editing often requires removing favourite photographs if they fail to strengthen the overall narrative. Her advice was simple but compelling: discover the subjects that genuinely excite you, commit to them over time, remain curious, and allow enjoyment to remain at the centre of the creative process.

Julie also spoke about expanding her storytelling through video. Alongside her photography, she now produces engaging reels documenting Amsterdam's unique cycling culture and creates YouTube videos that offer viewers a behind-the-scenes look at her creative process, often filmed with her Fujifilm X-T4. Rather than viewing video as a replacement for still photography, she sees it as another powerful medium through which ideas, experiences, and stories can be shared with a wider audience.

Throughout the conversation, Julie returned repeatedly to one simple but profound belief: photography enriches everyday life. Carrying a camera encourages closer observation, reveals humour and beauty in ordinary moments, and transforms even the most familiar routines into opportunities for discovery. For Julie Hrudová, photography is far more than the act of making pictures—it is a way of paying attention, remaining curious, and finding extraordinary moments hidden within the ordinary world.

Julie Website

Read the street online photography course

Julie Instagram

Talking Frames Instagram

Tim interviews Kieron Beard, a former firefighter turned street photographer based in Switzerland, about his journey into photography and how his previous career has shaped his approach to photographing strangers.

Kieron explains how years of working as a firefighter gave him the confidence to communicate with people in difficult and unpredictable situations—an experience that now helps him approach strangers on the street. He also discusses the challenges of photographing in Geneva, where concerns around privacy mean photographers are more likely to be questioned than in UK cities.

Working exclusively in black and white with a Leica M11 Monochrom and primarily a 35mm lens, Kieron talks about his preference for being physically close to the scene rather than observing from a distance. He explores how black and white removes distractions and, for him, creates a stronger connection to emotion, memory and atmosphere.

The conversation also looks at Kieron's changing relationship with social media. Moving away from the pursuit of likes and external validation, he is increasingly focused on creating meaningful bodies of work, exploring what lies beneath the surface of everyday street scenes, and using his website, writing and workshops to give his photography greater context.

Kieron also discusses the ethics of street photography, emphasising patience, respect and the importance of never exploiting vulnerable people for commercial gain. He explains why he is always prepared to talk to people about his photographs—and, if necessary, delete an image if someone objects.

A thoughtful conversation about street photography, ethics, confidence, black-and-white photography and finding greater meaning in the work beyond social media.

Kieron Website

Kieron Instagram

Australian photographer Markus Andersen joins Tim Bingham for a thoughtful and deeply personal conversation about photography, creativity, and finding meaning through long-term documentary work. Known for his powerful black-and-white imagery, Markus explains why he has never felt comfortable with the label of street photographer, preferring instead to describe himself as a documentary photographer whose projects are built over months, sometimes years, rather than from isolated moments captured at random.

Markus reflects on the evolution of his photographic journey through the publication of three very different books. From the gritty monochrome work of Rage Against the Light, to a vibrant colour study of Sydney's Cabramatta community photographed over the course of a Lunar New Year, and finally the experimental Intimate, created with an extraordinary 1300mm lens from just a metre away, each project represents a distinct chapter in his creative life. Together they reveal a photographer who is constantly challenging both his vision and the way he sees the world.

At the heart of Markus's work is a fascination with the unexpected. He talks about trusting instinct, recognising when seemingly unrelated elements begin to align, and waiting patiently for those fleeting moments that cannot be planned. Although chance plays an important role in his photographs, Markus reveals that his work is anything but random. Every project begins with a clear idea, develops over 12 to 18 months, and is driven by purpose rather than simply collecting interesting images.

The conversation explores the tools that help shape his distinctive style, from the Nikon ZF and Sony RX100 to the film cameras he continues to use today. Markus also shares the story of selling his Leica cameras, Rolleiflex and X-Pan during the rise of digital photography—a decision he still regrets—and explains why he occasionally returns to an ageing iPhone loaded with Hipstamatic to recreate the imperfections and character he loves from film.

Light has always been one of Markus's greatest inspirations. Living beneath Sydney's harsh Australian sun has drawn him towards bold contrast, deep shadows and graphic compositions that have become synonymous with his work. Influenced by cinema, Richard Avedon, Ian Berry and classic documentary photography, he discusses how atmosphere, shape and emotion often matter more than the subject itself, creating photographs that feel cinematic while remaining firmly rooted in reality.

Compassion and respect underpin everything Markus photographs. He speaks openly about the responsibility photographers have towards the people they photograph, explaining why he never hesitates to delete an image if someone asks and why empathy must always come before making a picture. It is a refreshing reminder that great documentary photography is built not only on observation but also on understanding.

As the conversation unfolds, Markus reflects on how life itself has reshaped his relationship with photography. The loss of his parents and the experience of the pandemic changed both his outlook and his practice, leading him to spend more time working alone and becoming far more selective about the photographs he makes. Today, photography has become less about producing images and more about finding clarity, balance and a sense of emotional grounding.

Looking ahead, Markus shares the projects that continue to inspire him. From exploring the visual relationship between shadows and architecture to documenting landscapes scarred by Australia's devastating bushfires, his latest work examines themes of destruction, resilience and renewal. Drawn to blackened forests, dramatic storm clouds and the quiet evidence of nature reclaiming damaged land, he continues to search for photographs that ask questions rather than provide easy answers.

The episode concludes with an honest reflection on photography's rewards and sacrifices. Markus recalls a time when Instagram fostered genuine creative communities and unexpected opportunities, while acknowledging that a life dedicated to photography often comes at a personal cost. It is an open, insightful conversation about artistic growth, staying true to your vision, and creating meaningful documentary work in an ever-changing world—one that will resonate with photographers at every stage of their journey.

Markus Website

Markus Instagram

Talking Frames Instagram

Tim Bingham is joined by photographer James Clifford Kent, whose thoughtful and compassionate approach to documentary photography has seen him spend more than two decades exploring identity, memory, community, healthcare, and social change. Based in London, James blends documentary reportage, portraiture, and socially engaged photography to create work rooted in empathy, curiosity, and genuine human connection.

In this episode, James explains why he resists being confined by labels such as street photographer, instead embracing a reactive, people-centred approach to making photographs. He discusses the influence of Diane Arbus, Don McCullin, and Henri Cartier-Bresson, and reflects on why the most powerful images come from emotional engagement rather than simply recording events.

A significant part of the conversation focuses on James's long-term work in Cuba, a project that began while teaching English in Havana and has evolved over more than twenty years into an important body of documentary photography. He shares the stories behind the project and discusses his forthcoming photobook, Yuma, due for publication in 2026, exploring the relationships, trust, and cultural understanding developed over decades of returning to the island.

James also talks about his acclaimed work documenting the NHS, photographing operating theatres, maternity wards, midwives, and healthcare professionals. His photographs have been published by The Guardian, The Times, BBC News, British Journal of Photography, and The Lancet. His NHS-supported project Maternity won The Lancet Photography Prize and was selected for both Portrait of Britain and Portrait of Humanity, highlighting his commitment to portraying people with honesty, dignity, and respect.

The conversation explores James's wider achievements within contemporary photography. His Cuba project NHMN – "No hay más na'!" was selected for both the Royal Academy Summer Exhibition and the Taylor Wessing Photographic Portrait Prize at the National Portrait Gallery. Earlier work from Cuba featured in the Discovery section at Photo London, curated by Charlotte Jansen. His photographs have been exhibited throughout the UK and Cuba, and in 2022 he was elected a Fellow of the Royal Photographic Society (FRPS). His work has also been recognised by the Refocus Awards, reflecting a career built on thoughtful documentary practice and authentic storytelling.

James reflects on his journey from academia—where he completed a PhD in Visual Culture and spent a decade lecturing—to becoming a full-time photographer. He discusses balancing creative ambition with authenticity, and how his background in research continues to shape the way he approaches photography today. He also shares his passion for analogue photography, the importance of slowing down, and why carrying printed photographs continues to create meaningful conversations with the people he photographs.

Tim and James also discuss James's work documenting Arsenal supporters, exploring the connections between football culture, community, collective identity, and documentary storytelling. The episode concludes with a conversation about photobooks, zines, independent publishing, and the creative communities that continue to inspire his work.

Whether you're interested in documentary photography, street photography, visual storytelling, portraiture, or developing a more authentic photographic voice, this episode is filled with thoughtful insights into creating photographs that connect with people and endure over time. From revolutionary Cuba to NHS maternity wards and the terraces of Arsenal Football Club, James Clifford Kent's work is united by one defining principle: a deep commitment to empathy, authenticity, and the human experience.

People mentioned in the episode

Laura Pannack @laurapannack

David Campany @davidcampany

Corinne Day @corinnedayofficial

Tom Seymour @mrtomseymour

Charlotte Jansen @omfgnoway

Gem Fletcher @gemfletcher

Dexter Kane @dexterkane_ldn

In this episode of Talking Frames, Tim is joined by London-based Iranian photographer, researcher and visual artist Amin Yousefi. Originally trained as a documentary photographer in Iran, Amin's practice has evolved into a research-led exploration of photography, memory, history and archival practice. Amin has rapidly gained significant international recognition as one of the most exciting emerging voices in contemporary photography. His work has been exhibited widely across Europe and beyond, he was named a Foam Talent 2024–25, received the Royal Photographic Society's Award for Achievement in the Art of Photography (Under 30), and his first monograph,Eyes Dazzle,is published by Luhx Press with an essay by renowned photography writer and curator David Campany.

Growing up in Abadan, a city profoundly shaped by the Iran-Iraq War and the country's oil industry, Amin developed an acute awareness of how landscapes, personal histories and political events become embedded in collective memory. These formative experiences continue to influence his work, which examines the ways photographs preserve, conceal and transform history, inviting viewers to look beyond the obvious and reconsider familiar narratives.

The conversation centres on Amin's acclaimed project Eyes Dazzle, which began with a simple but remarkable discovery. While closely examining published photographs from the 1979 Iranian Revolution with a magnifying loupe, he noticed individuals within the crowds looking directly back at the photographer rather than at the unfolding events. Those overlooked gazes became the foundation of a project that reactivates archival photographs, revealing stories and relationships that had remained hidden in plain sight. Rather than altering the original images, Amin isolates these moments to encourage a new way of seeing history and the people who lived through it.

Tim and Amin discuss the ethical questions surrounding the use of archival photographs, with Amin explaining why he considers his work to be a collaboration with the original photographers rather than an act of appropriation. They explore how historical photographs can be continually reinterpreted while respecting their original context, and why archives remain living spaces capable of generating new meanings decades after images were first made.

The conversation also examines the realities of being an Iranian artist working internationally. Amin speaks candidly about the challenges of representing Iranian culture in Western institutions, the expectations often placed on artists from politically complex regions, and his desire for discussions to remain focused on photography, artistic practice and visual culture rather than reducing artists to political commentators.

Along the way, they discuss documentary photography, vernacular archives, the power of close observation, the role of memory in photographic practice and the importance of slowing down to truly look at images. Amin also shares insights into his forthcoming monograph Eyes Dazzle and introduces his latest project, Defensive Readiness, which combines archival research with emerging technologies including 3D scanning.

This is a thoughtful and deeply engaging conversation about photography's unique ability not simply to document history, but to continually reshape how we understand it

Eyes Dazzle Luhz Press

Amin Website

Amin Instagram

Talking Frames Instagram

In this episode Tim Bingham speaks with documentary photographer Alan Gignoux, curator Jenny Christensson, and long-time collaborator Chloe Juno in a conversation about Homeland Lost — a twenty-year photographic project documenting the lives, memories, and histories of Palestinian refugees displaced from their villages in 1948.

Based in London, Alan began the project while living in Beirut, where everyday encounters with Palestinian refugees revealed a striking reality: despite the scale and significance of their displacement, many of these personal histories remained little understood beyond the region. What began as a photographic exploration evolved into a long-term commitment to preserving stories of loss, resilience, identity, and belonging.

Now, two decades later, Homeland Lost returns in a new form through an exhibition at P21 Gallery in London, running from 2–10 July. The exhibition combines updated testimonies, large-scale photographic works, and an immersive audiovisual installation, creating a deeper and more layered experience of the project's themes and its participants' stories.

Alongside the exhibition, the team are developing a self-published photobook that will bring together every participant photographed throughout the project's twenty-year history. Designed as a complete archive of the work, the publication aims to remain accessible, comprehensive, and faithful to the project's original ethos.

Together, we discuss the responsibilities of long-term documentary practice, the role of photography in preserving collective memory, the complexities of representation, and how images can help connect audiences with histories that might otherwise be overlooked or forgotten.

Homeland Lost Project

Alan Gignoux Website

Jenny Christensson

Chloe Juno Website

In this episode, Tim Bingham speaks with documentary and portrait photographer Danielle Fitzgerald, whose work offers an intimate, humanising look at strip clubs, people who work in the adult industry, and the private spaces where performance falls away.

Throughout the conversation, Danielle describes how her first major project emerged from a desire to photograph people not in the heightened atmosphere of performance, but in the quieter, more revealing spaces behind the scenes. A central thread in the episode is Danielle’s deeply collaborative and ethically grounded methodology. She incorporates first‑person captions to ensure that the work speaks with the people involved rather than about them.

Danielle’s years in social work shape every aspect of her creative practice. She brings a non‑judgmental mindset, a people‑first philosophy, and a capacity to hold complex disclosures without absorbing emotional weight. These skills allow her to navigate sensitive stories with care and to build trust with individuals who are often misrepresented . She speaks about wanting her work to shift public narratives around sex work by showing the full texture of people’s lives — their routines, their humour, their contradictions, and their humanity.

Danielle Website

Danielle Instagram

Talking Frames Instagram

In this episode, Tim Bingham is joined by photographer Amy Horowitz to discuss her remarkable journey into street photography and how creativity transformed her life after moving to New York City.

The conversation explores the pivotal moments that shaped Amy’s photographic practice, from the first time she approached a stranger for a portrait to overcoming fear, rejection and self-doubt. Amy reflects on creating more than 2,000 portraits over the last six years, explaining how repetition, discipline and consistency gradually built her confidence.

What began as a creative challenge evolved into a powerful form of human connection.

Tim and Amy also discuss the unique energy of downtown New York and the young creatives who populate the streets around NYU, Parsons and the surrounding art schools. Amy explains what draws her to people with tattoos, unconventional fashion, colourful hair and distinctive personal styles, while revealing her deeper interest in vulnerability, authenticity and the person behind the appearance.

The episode also explores artistic influence and creative development. Amy talks about learning from cinema, studying contemporary photographers online and the importance of continually evolving creatively.

The discussion moves into social media, photography festivals and the global street photography community, examining both the opportunities and pressures created by platforms like Instagram. Amy shares how daily posting became both a discipline and a creative challenge, helping her connect with photographers around the world.

More personally, the conversation becomes a reflection on reinvention and rediscovering purpose later in life. Amy explains how photography helped her reconnect with the ambitious and creative side of herself that existed long before motherhood and family responsibilities took priority. She describes photography as bringing structure, excitement, community and a renewed sense of identity.

This episode is an honest and thoughtful discussion about street photography, fear, creativity, discipline, self-expression and the emotional connections that can emerge between strangers through photography.

Amy website

Amy Instragram

Talking Frames Instagram

This episode of Talking Frames Neil Kramer joins Tim Bingham for a deeply reflective conversation exploring photography, ethics, family, aging, and the evolving realities of street photography in a post-pandemic world.

Neil discusses his unconventional journey into photography, initially resisting the medium despite growing up around cameras through his father before eventually discovering photography through the accessibility of the iPhone and the streets of New York City. Drawing from his background in English literature and film school, he reflects on how narrative, framing, light, and emotional storytelling continue to shape his photographic approach.

A major focus of the conversation centres on how dramatically street photography has changed over the last decade. Neil reflects on how smartphones and social media transformed photography from a largely observational practice into something far more public, performative, and ethically complicated. Questions surrounding privacy, consent, representation, race, immigration, and audience perception now sit at the centre of photographing strangers in public spaces.

Neil speaks candidly about the emotional complexity of photographing family members and the difficult negotiations surrounding vulnerability, authorship, and consent when the people closest to you become artistic subjects.

The conversation also examines the growing influence of social media on photographic practice. Neil openly discusses the tension between making photographs instinctively and subconsciously anticipating audience reaction online. He reflects on the discomfort of strangers publicly commenting on his family life and explains why he declined interest from the Daily Mail, fearing the work would be reduced to sensationalism rather than understood as nuanced personal documentary storytelling.

They further explore broader questions surrounding authenticity, interpretation, and artistic control. They discuss the balance between allowing photographs to speak independently versus guiding viewers through captions and narrative context, especially when deeply personal work becomes publicly consumed and frequently misunderstood.

Neil Kramer Website

Neil Kramer Instagram

Photoville Exhibition

Talking Frames Instagram

Song: Drip

Music by: CreatorMix.com

Photo London 2026 marks a new chapter for one of the world’s most important photography fairs. Running from 14 to 17 May, this year’s edition brings together leading galleries from across Europe, the US, Asia, and Latin America but what really defines Photo London is the way it balances the commercial energy of an art fair with a genuinely thoughtful curatorial vision.

After a decade at Somerset House, the fair has now moved to Olympia London. That shift isn’t just logistical; it changes the entire experience. The new venue offers a more open, unified layout, making the fair easier to navigate and expanding what’s possible in terms of programming, presentation, and scale.

In this episode, I’m joined by Sophie Parker, Director of Photo London 2026, to talk about why this feels like a turning point. We explore the shape of this year’s programme — from curated exhibitions and solo presentations to an expanded talks series focused on collecting, and a new screening room dedicated to artist films.

There are standout moments too: early work by Stephen Meisel, a strong mix of emerging and established artists, and a major presentation from Autograph. And we look at the broader trends shaping the fair right now — including a renewed interest in craft, process‑driven work, and documentary photography.

Overall, this episode offers a clear insight into how Photo London is evolving in scale, in ambition, and in direction and what that evolution tells us about photography today.

More information can be found https://photolondon.org/

Song: Drip

Music by: CreatorMix.com

Niamh Barry who is based in Dublin is a photographer and visual storyteller whose work focuses on intimate, emotionally honest portrayals of queer life in Ireland. Her images are grounded in trust, tenderness and a commitment to representing people and communities whose stories are often overlooked. Niamhs work has been exhibited widely, including at the RHA Annual Exhibition, Photo Museum Ireland’s Talents programme, Irish Design Week and the Galway Arts Centre. She has been nominated for FUTURES, featured in the British Journal of Photography’s Portrait of Humanity, and supported by multiple Arts Council Agility Awards.

Her photography has appeared in publications such as VICE UK, Billboard, CLASH Magazine and Totally Dublin, reflecting her growing presence across both art and editorial contexts.

In this episode, Tim Bingham speaks with Niamh fresh from winning an award at the Manchester Film Festival, Niamh reflects on her path from studying at Trinity College Dublin into a career shaped by instinct, collaboration, and lived experience.

The conversation traces her early development through projects like No Queer Apologies, a defining body of work that expanded her visual language and led to a sold-out photobook supported by the Arts Council Ireland. It also explores her more recent project Now & Forever, Interpersonally Queer, which focuses on intimacy, chosen family, and a slower, more collaborative way of working.

A central focus is her documentary Something in the Air, inspired by the work of Nan Goldin and developed through an unexpected connection with a transgender storm chaser in Oklahoma. Niamh discusses the shift from still photography to film, the challenges of working with a small crew, and how storytelling changes when moving from image to motion.

They also dive into the realities of sustaining an artistic career — from the importance (and fragility) of funding and her residency at Photo Museum Ireland, to navigating freelance life, creative control, and representation within the Irish photography scene.

Alongside her personal work, Niamh reflects on photographing musicians like boygenius and Chappell Roan, and how commercial work provides a separate creative outlet.

At its core, the episode is about building a practice without a roadmap — balancing uncertainty with purpose, and using photography as both a personal and political act.

Niamh Website

Niamh instagram

Talking Frames instagram

Reuben Radding, a New York based street and documentary photographer whose work has become a distinctive voice within contemporary urban photography. Reuban has spent more than a decade walking the city with a camera, creating images that feel less like observations and more like encounters

His photographs have appeared in exhibitions and publications since the early 2010s, and his first photobook, Heavenly Arms, published by Red Hook Editions,has already earned international recognition, including a 2nd Place Prize in the 2025 International Photography Awards. The book distills ten years of wandering, witnessing, and wrestling with the idea of human interconnectedness.

In this episode Tim Bingham speaks with Reuban exploring how his artistic background shapes his approach to street photography. A central theme of the discussion is how photography became a form of personal healing. Reuben describes previously feeling separate from others, like an observer on the outside of life. Through photographing on the streets of New York, he began to feel part of the city’s flow—less detached and more connected. This shift not only changed his relationship to photography but also deepened his sense of belonging and engagement with people.

Ultimately, Reuben frames photography as a tool for understanding both himself and others. The practice has taught him to see people as complex and multifaceted, moving beyond simple judgments. Through this ongoing process, he recognises a shared human experience that connects everyone, making photography not just an artistic pursuit, but a way of engaging more deeply with the world.

Reuben Website

Reuben Instagram

Talking Frames Instagram

Song: Drip

Music by: CreatorMix.com

David Cossini is a documentary and street photographer whose work is grounded in immersion, connection, and honesty. Rather than chasing quick images, he invests time in the people and communities he photographs, building trust and creating images that feel raw, human, and deeply personal. His approach prioritises emotion and atmosphere over technical perfection, drawing viewers into the scene rather than positioning them as distant observers.

His work has been recognised through a number of photography awards and competitions, reflecting both his strength as a storyteller and his commitment to long-term, meaningful projects. He is also a member of the Revoke Photo Collective, a group dedicated to pushing the boundaries of contemporary street and documentary photography. Alongside his practice, David is an active voice within the photography community, speaking openly about process, ethics, and what it truly means to document people with respect.

In this deeply personal and wide-ranging conversation, Tim Bingham sits down with David to explore not just his photography, but the experiences and philosophy that shape it. David shares his non-linear journey into photography and explains why he rejects conventional, surface-level assignments in favour of long-term, immersive work. His focus often centres on people living on the margins, those navigating addiction, identity, and social exclusion by approaching these stories with a desire to understand rather than simply observe.

A recurring theme throughout the conversation is the importance of proximity. David places himself within the story, allowing relationships to develop over time and shape the narrative organically. Some of his most powerful work is rooted in personal experience, including reconnecting with his father after a 20-year estrangement, using the camera as both a bridge and a tool for understanding.

The discussion also explores his ongoing work with punk communities and individuals struggling with addiction, highlighting the ethical balance between honesty and dignity, the role of consent, and the emotional weight of sustained engagement with difficult realities. His commitment to these communities is long-term and non-transactional.

At the core of David’s perspective is a strong personal ethos. He draws a distinction between empathy and compassion, arguing that while bias is inevitable, compassion allows for a more honest and sustainable relationship with subjects. Forgiveness—particularly in relation to his father—emerges as a powerful theme, framed not as something done for others, but as a way of finding personal freedom.

Ultimately, this conversation reveals that for David, photography is not just a career but a way of living—one built on presence, patience, and emotional investment. Whether working in Uganda, Newcastle, or within subcultures closer to home, his focus remains the same: to tell stories with integrity and remain loyal to the people at the heart of them.

David Cossini Website

David Cossina Instagram

Revoke Photo Collective

Talking Frames Instagram

Song: Drip

Music by: CreatorMix.com

John Boaz is a portrait photographer whose work explores faith, community, culture, and place.

He has been recognized multiple times in the Portrait of Britain awards, and his work has been exhibited at respected venues such as the Saatchi Gallery in London. His editorial photography has appeared in major publications including The Telegraph Magazine, Financial Times, New Statesman, Le Monde, and Der Spiegel.

In this conversation with Tim Bingham, he discusses his journey into photography, his slow and deliberate working process, and the ethical responsibility he feels toward the people he photographs.

John’s early relationship with art began in childhood when his mother regularly took him to museums and galleries. There he developed a deep appreciation for classical painters such as Rembrandt and Vermeer, whose use of light and quiet human presence continues to influence his photographic style. While studying, he discovered the work of photographers including Alys Tomlinson, Laura Pannack, and Alex Soth. Encountering their work shifted his understanding of photography from simple image-making toward storytelling and visual communication.

Much of John’s work focuses on long-term observational and portrait projects. His ongoing series Rivers of Living Water documents Christian faith communities across Britain while Our Father explores monastic life. Another deeply personal project, Hope in New Beginnings, turns the camera toward his own parents. Across these bodies of work, John emphasizes patience and relationship-building, often spending long periods with people and communities before making photographs.

His portrait practice is grounded in trust and authenticity. John prefers to photograph people in their own environments using natural light. This approach reflects his belief that portrait photography should celebrate and honour the people being photographed.

Photographers mentioned

Laura Pannack

Alys Tomlinson

John Boaz Website

John Boaz Instagram

Talking Frames Instagram

Song: Drip

Music by: CreatorMix.com

Marcin Kornacki is a photojournalist and documentary photographer whose work focuses on places and communities shaped by conflict, social inequality, and historical memory. He is based in London and studied photojournalism and documentary photography at the University of the Arts London. His practice is grounded in long-term projects and spending extended time with the people he photographs, combining visual storytelling with personal testimony.

In this episode, Tim speaks with Marcin about his artistic development, working practice, and the ethical complexities of photographing communities affected by conflict and social marginalisation. The conversation traces Marcin’s journey from early inspiration through to his current, more contemplative approach to image-making.

His professional work has taken him to Haiti, Bolivia, Lebanon, Jamaica and Nepal, with Haiti becoming one of his most significant long-term projects. There he documented gang violence, displacement and political upheaval, including direct engagement with gang leader Jimmy Chérizier. Marcin reflected on working in Port-au-Prince during a period when gang control, humanitarian crisis and political collapse converged, describing both the risks and responsibilities that come with photographing conflict.

A major turning point in Marcin’s career was his year-long mentorship with acclaimed photographer Laura Pannack. This mentorship was described as profoundly transformative. Under Laura’s guidance, Marcin shifted from fast, reactive photojournalism toward a slower, more intentional way of working.

This slower, more reflective approach to image-making became visible in his exhibition “Outer Land”, which explored liminal spaces and transition. Preparing the exhibition highlighted the difficulty of editing one’s own work and reinforced the value of collaboration with trusted editors and curators — a lesson strengthened through Laura Pannack’s mentorship.

The episode also explored the realities of contemporary documentary photography, including self-promotion, audience connection, and the challenge of balancing artistic expression with journalistic responsibility. Marcin’s evolving practice points toward slower, more nuanced and collaborative storytelling, profoundly shaped by mentorship, field experience and ethical reflection.

Marcin Kornacki Website

Marcin Kornanki Instagram

Talking Frames Instagram

Song: Drip

Music by: CreatorMix.com

Meryl Meisler is an American photographer born in the South Bronx and raised on Long Island, New York, whose work offers a vivid, human-centred portrait of New York from the 1970s onward. She started taking photographs as a young student, influenced by photographers like Diane Arbus and Jacques Henri Lartigue.

In recent years a resurgence of interest in her archive has brought Meryl's work wider recognition. Exhibitions and books of her work present these photographic archives as cultural time capsules – “love letters” to New York’s chaotic energy, its people, and the fleeting, spontaneous moments that define community and identity. Her photography blends documentary grit with warmth, humour, and empathy, making her a significant voice in American street and social documentary photography.

This episode is a conversation about the long arc of an artistic life — about identity, joy, survival, and what it really means to stay with the work.Meryl shares how photography was never something she “discovered” — it was woven into her childhood. Growing up surrounded by her father’s printing business, typography, and her grandfather’s constant photographing, image-making felt as natural as breathing. That early immersion shaped a visual language that would later find formal ignition.

Meryl chose to photograph joy, resilience, and pride — a decision rooted not in denial, but in survival. Decades later, those images would bring her international recognition.

At its heart, this is a conversation about patience, community, and staying with the work. Recognition came late. The images lived quietly for decades before the world caught up. Meryl’s story is a powerful reminder that an artistic life is sustained not by speed or spectacle, but by attention, connection, and endurance.

Meryl Meisler Website

Meryl Meisler Instagram

Video Meryl Meisler & Lisette Model

Dublin Street Photography Festival

Song: Drip

Music by: CreatorMix.com

Simon King began his photographic career in the world of fashion, focusing particularly on backstage photography. While this commercial work provided valuable experience, it was through documentary photography that Simon discovered his true calling. This evolution signified a shift towards authentic storytelling, where meaningful engagement with subjects took precedence over commercial interests.

A distinctive feature of Simon's approach lies in his clear separation between street photography and documentary work. He regards street photography as providing contextual imagery and B-roll material, serving to support the broader narrative. In contrast, documentary photography delivers the hero shots and A-roll content, encapsulating the central storyline of each project. This distinction allows Simon to maintain clarity and focus, ensuring that each project is grounded in the stories he wishes to convey.

As a teacher, Simon’s emphasis moves away from gear and toward self-understanding. He encourages photographers to examine their relationship with the world before worrying about cameras. Why you photograph, how you approach people, and what you bring into a space matters more than technical mastery. For Simon, photography becomes both purpose and permission — an excuse to enter communities, listen, and participate with care.

The New Exit collective embodies this same spirit of collaboration. Rather than privileging individual authorship, the group prioritises shared purpose when the work demands it. It becomes a support structure where photographers grow together, challenge each other ethically and creatively, and commit to projects that carry social and cultural weight.

Simon and Tim delve into the ethical responsibilities of documentary photographers, especially when working in enclosed or sensitive settings. Simon recounts his experience photographing inside a temple, where building trust and participating in the community were crucial. They question the notion of photographers as detached observers, with Simon advocating against simply "bruising the scene" and leaving. Instead, he emphasises the role of photographers as engaged participants, stressing the importance of representation, respect, and cultivating long-term relationships, which become as significant as the images themselves.

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