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This podcast was inspired by another podcast that I listen to (“The rest is history”) where they spoke about Lee Miller. This, in turn, was prompted by the 2023 movie starring Kate Winslet.

Lee Miller was largely forgotten until her biography came out in the 1980’s (she died in 1977). She had a privileged upbringing and, I think it’s fair to say, lacked any purpose in her life. This changed when the Second World War started, and she became a war photographer.

If you google Lee Miller, the first photograph you’re likely to see is of her in Hitler’s bath in his flat in Munich. I understand that she was in his apartment by accident and the reason for the bath was that she was washing off the mud from the Dachau concentration camp, which she’d just visited. 

Photojournalism is a central part of my approach to photography (the “visual storyteller”) and I always respect the people who are willing to put themselves on the front line. Lee Miller was in real danger of death, and journalists and photographers are often targeted to stop the truth from getting out (this is happening in Palestine as I write).

Another aspect is censorship and misinformation. In Lee Millers case, the photographs she took at Dachau featured in two spreads in Vogue, clearly showing what had happened there. Another set, showing American bombers dropping napalm on German positions, was censored.

So, what are the takeaways for our photography? I suggest these:

Imagine you only have a roll of 12 (or 24, or 36) images available and think before you press the shutter button: What is this photograph about? What is the story you want to tell?

Try a film camera if you’re not familiar with using them, as you need a different approach and I believe this will positively impact your work.

When is a photograph dishonest? For example, some, pre-Google maps, real estate photographs create an impression of space. So the question has to be, is the intention to deceive the viewer? What is your intention? This is important with the amount of misinformation we see today, much of it photographi

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