
251 - Mike Abrahams
02/26/25 • 62 min
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British photographer Mike Abrahams has worked as a freelance photographer for over 40 years having become renowned for his sensitive eye in documenting the lives of ordinary people often in extraordinary situations.
In 1981 he was a cofounder of Network Photographers the Internationally renowned picture agency and his work has taken him around the world. His photographs have been published in all the major international news media.
In 2024, Mike’s much anticipated book This Was Then, was published by Bluecoat Press and has been described as a lyrical portrait of humanity in adverse circumstances. It features photographs taken from 1973 to 2001 in cities from Liverpool to Glasgow. Blackburn to Bradford, Northern Ireland to the coalfields of Kent and London.
Mike’s work on Faith - A Journey with Those Who Believe, published in 2000, was the culmination of five years work, documenting the extremes and passion of Christian devotion throughout fourteen countries. Awards for this work included the World Press Photo Award in 2000, and the book Faith designed by Browns, was a finalist in the Design Week - Editorial Design: Books. It has been widely exhibited throughout the UK and Europe.
Colin Jacobson, picture editor of The Independent Magazine, described Mike’s body of work from the conflict in Northern Ireland and published in the book Still War, in 1989 as "Documentary photography at its best - imaginative, comprehensive, confident and concerned". His coverage of the troubles in Northern Ireland was the subjects of a Television documentary Moving Stills.
Other important assignments have included coverage of the division of Cyprus, Migrant labour in Southern Africa, the Intifada in the Occupied Territories, the Berlin Wall, the collapse of Communism in Eastern Europe, the rise in the influence of the religious in Israeli politics, the Cult of Assad in Syria, Northern Ireland and documenting Another Britain.
In episode 251, Mike discusses, among other things:
- Discovering the darkroom at 12
- Growing up in post-war Liverpool
- The infamous Toxteth Riots of the early 80s
- Network Photographers agency
- The story of the IRA bombing
- His interest in religious ceremony
- Going back to his archive of British work for the new book, This Was Then
- The impetus behind it
- The sustainability of of a long-term career
- Personal work that he is still doing
Referenced:
- Eugene Smith
- David Douglas Duncan
- Larry Burrows
- Tim Page
- Network Photographers
- John Sturrock
- Mike Goldwater
- Judah Passow
- Chris Davies
- Laurie Sparham
- Steve Benbow
- Martin Slavin
- Barry Lewis
- Red Saunders
- Sid Shelton
- Roger Hutchins
- Chris Killip
- Daniel Meadows
- Peter Marlow
- Peter Van Agtmael
“You can go here, there and everywhere, and I have travelled a lot and it’s been interesting and fascinating, but you’re always the outsider coming in. You don’t really know the story. It’s glamorous, it’s exotic, it’s fascinating, but I think it’s much harder to photograph your home turf. You come to it with quite an honest perspective. It’s the land you’re living in, you’re conscious of the differences in the country between the north, south, east and west, the regions... it’s kind of embedded in you, the differences.”
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British photographer Mike Abrahams has worked as a freelance photographer for over 40 years having become renowned for his sensitive eye in documenting the lives of ordinary people often in extraordinary situations.
In 1981 he was a cofounder of Network Photographers the Internationally renowned picture agency and his work has taken him around the world. His photographs have been published in all the major international news media.
In 2024, Mike’s much anticipated book This Was Then, was published by Bluecoat Press and has been described as a lyrical portrait of humanity in adverse circumstances. It features photographs taken from 1973 to 2001 in cities from Liverpool to Glasgow. Blackburn to Bradford, Northern Ireland to the coalfields of Kent and London.
Mike’s work on Faith - A Journey with Those Who Believe, published in 2000, was the culmination of five years work, documenting the extremes and passion of Christian devotion throughout fourteen countries. Awards for this work included the World Press Photo Award in 2000, and the book Faith designed by Browns, was a finalist in the Design Week - Editorial Design: Books. It has been widely exhibited throughout the UK and Europe.
Colin Jacobson, picture editor of The Independent Magazine, described Mike’s body of work from the conflict in Northern Ireland and published in the book Still War, in 1989 as "Documentary photography at its best - imaginative, comprehensive, confident and concerned". His coverage of the troubles in Northern Ireland was the subjects of a Television documentary Moving Stills.
Other important assignments have included coverage of the division of Cyprus, Migrant labour in Southern Africa, the Intifada in the Occupied Territories, the Berlin Wall, the collapse of Communism in Eastern Europe, the rise in the influence of the religious in Israeli politics, the Cult of Assad in Syria, Northern Ireland and documenting Another Britain.
In episode 251, Mike discusses, among other things:
- Discovering the darkroom at 12
- Growing up in post-war Liverpool
- The infamous Toxteth Riots of the early 80s
- Network Photographers agency
- The story of the IRA bombing
- His interest in religious ceremony
- Going back to his archive of British work for the new book, This Was Then
- The impetus behind it
- The sustainability of of a long-term career
- Personal work that he is still doing
Referenced:
- Eugene Smith
- David Douglas Duncan
- Larry Burrows
- Tim Page
- Network Photographers
- John Sturrock
- Mike Goldwater
- Judah Passow
- Chris Davies
- Laurie Sparham
- Steve Benbow
- Martin Slavin
- Barry Lewis
- Red Saunders
- Sid Shelton
- Roger Hutchins
- Chris Killip
- Daniel Meadows
- Peter Marlow
- Peter Van Agtmael
“You can go here, there and everywhere, and I have travelled a lot and it’s been interesting and fascinating, but you’re always the outsider coming in. You don’t really know the story. It’s glamorous, it’s exotic, it’s fascinating, but I think it’s much harder to photograph your home turf. You come to it with quite an honest perspective. It’s the land you’re living in, you’re conscious of the differences in the country between the north, south, east and west, the regions... it’s kind of embedded in you, the differences.”
- Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.
- For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.
- Subscribe to my weekly newsletter here for everything A Small Voice related and much more besides.
- Follow me on In...
Previous Episode

250 - Joseph Michael Lopez
Joseph Michael Lopez - JML, (b. 1973) is an independent photographer born in New York City to a Puerto Rican father and a mother who escaped the Cuban Revolution in 1967. He earned his MFA in 2011 at Columbia University. Lopez began his career as an analog cinematographer on the critically acclaimed Bruce Weber film, Chop Suey (2001). Currently, Joseph divides his time between long-form projects, teaching, and commercial work. His photographs have appeared on the covers of M, The Magazine for Leica M Photography, Leica Fotografie International, The Sunday Review of The New York Times, New York magazine and The New Yorker, among others.
Joseph’s photographs were on exhibit in “Cuban Photography after 1980: Selections from the Museum’s Collection”, at The Museum of Fine Arts in Houston. In 2016, a commissioned series of his photographs of New York neighborhoods, “New York at Its Core: Future City Lab”, was installed at The Museum of the City of New York. Photographs from JML NYC, the series from which this commission originated, have also been published in the book Bystander: A History of Street Photography, by Colin Westerbeck and Joel Meyerowitz. JML’s first book JML NYC 02-23 was published by GOST in the fall of 2024.
In episode 250, Joseph discusses, among other things:
- Relocating to Rome from NYC
- His intro to NYC via assisting Bruce Weber
- His early career as a professional assistant
- Shooting with his Leica as a ‘coping mechanism’
- The challenge of creating a cohesive narrative from 20 years of single images
- His Dear New Yorker project
- Why B&W is where his heart is at
- How what we see is who we are
- His approach towards light and sun
- Using digital vs. film
- Assisting Mitch Epstein
- How his opinion on grad school has changed
- Controversy surrounding Columbia University prof. Thomas Roma
- His plans for working in Rome and going forward
Referenced:
- Bruce Weber
- Danny Lyon, Knave of Hearts
- Tod Papageorge
- Chuck Kelton’s darkroom
- Mitch Epstein
- Thomas Roma
- Mohammad Rasoulof
“Essentially, it’s about saying something and having a voice and having a perception of the world that is, like singing a loud song you know, your pictures have to say something. And how do you separate yourself from all the noise that’s out there already? You have to have an obsessive, emphatic way to perceive things. I think to a certain extent what we see is who we are in a way.”
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- For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.
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Next Episode

252 - Ian Macdonald
Ian Macdonald (b. 1946) is an internationally acclaimed photographer born and raised in Middlesbrough, Yorkshire, UK. He studied Graphic Design and Printmaking at Teesside College of Art in 1968 and went on to study Painting and Photography at Sheffield School of Art, Photography and Graphic Design at Birmingham Polytechnic and Education at Lancaster University. He pursued photography alongside drawing – his first love - painting and printmaking.
Since 1968, Ian has consistently photographed the people and places of Teesside, one of Europe’s most heavily industrialised areas in the north east of England. His love of the region, the beauty of the landscape – great expanses of wildness nestling among industrial settings - and his solid admiration for the people working and living amongst this environment has resulted in a completely honest and passionate depiction of a place and its community.
“The most successful of my photographs seem to be a product of an exploration into my environment and the people I live and work amongst and an excitement generated in me by what I confront. Sometimes by-product would seem a more appropriate term, because only rarely do images really come near to saying anything about the strength, humour, vitality, atmosphere, pathos and despair which seems to make up what goes on around us all. Always, I am spurred on by a tingling sensation at the possibility, this time, perhaps, the image may really say something”.
Ian’s work has been included in various publications, such as England Gone, Smith’s Dock Shipbuilders, Images of the Tees, Eton and The Blast Furnace. His work has been exhibited internationally and is included in many private and public photography collections around the world. In 2024 Ian had a major retrospective entitled Fixing Time, covering the first twenty years of his work, displayed across two venues in the north east of England - Sunderland Museum & Winter Gardens and Northern Gallery for Contemporary Art.
Ian is currently working on a series of forthcoming books with GOST Books.
In episode 252, Ian discusses, among other things:
- His recent dual exhibitions, Fixing Time, in the North East of England
- How his fascination for drawing took him to art college
- His discomfort with his work being put in the documentary pigeonhole
- Finding it hard to approach your subjects
- A brief description of the area he grew up and photographed in
- His transition from drawing to photography
- Greatham Creek and the portrait (above) that made him excited
- His early memories of his grandfather and father and wanting to celebrate and document their history
- His year spent as artist in residence at Eton College
- His reasons for choosing to teach in a school and not at art college
Referenced:
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