As When Harri Met Sally podcast returns for its highly anticipated third season, co-hosts Harriet Tarbuck and Sally Brownbill are shifting their focus to pull back the curtain on the business side of the image-making industry. This time around, the creative duo has flipped the script, moving away from speaking exclusively with the photographers behind the lens to sit down with the influential figures who actually hire them.
We catch up with the duo and find out how they have improved, what to expect from this season, and how much work actually goes on behind the scenes to make this all happen.
1) Your first episode aired mid-October 2024 – what have you learned, or how do you feel that you have improved since your first season?
So much! Like all creative pursuits, it has been a huge learning curve. We’ve learned that we love working together and that sometimes we are good cop and bad cop, though I won’t say who is who, haha. We’ve discovered that to work cohesively, there has to be open communication, and guiding the people who work alongside us on matters like timelines and how to charge for their time has been important.
We’ve learned how to work with all kinds of people, from the gregarious to the shy, and we’ve learned that we are both loud, in a good way. We laugh a lot, which is important, often at ourselves and our reactions. We may say “I’m excited” too much, but the simple fact is we are. We’ve both had some serious fan-girl moments, but mostly there has been laughter and fun.
We are thoughtful in choosing who we interview, knowing what each guest will bring to the table. Some we both know, and for others, only one of us does. In those cases, it’s a steep learning curve for the other, but we brief each other well and give a good sense of the guest’s character, which helps us set the right mood and tone. So far, there have been no walkouts or tears, so I think we’re doing pretty well.
2) Season 3 – is there an overarching theme?
Yes. This season we have flipped the idea of the guest on its head and are speaking to the people who hire photographers. We’re talking with creative directors, global design studios, fashion designers, content creators, gallerists and buyers of photography.
Our guests have risen through the ranks in their careers and worked with photographers at every level. We find out what they look for when working with a photographer, how they go about finding photographers and they share practical advice on the dos and don’ts when presenting your work.
3) In season 2, you took suggestions from listeners for who they wanted to interview. For season 3, you actually had a google form to suggest photographers - how did that work out?
It didn’t resonate with everyone and we’d like to develop that further, however our listeners have really enjoyed the choices we’ve made so far. We had some fantastic conversations with people about new ideas, and we still have that list and we’re always open to suggestions from our audience. You can DM us anytime on our Instagram page. Who knows, maybe a future season will be shaped by listener feedback. Don’t be strangers, engage with us! After all, we are always talking about communication.
4) Sneak Preview Highlights: Without giving too much away, can you share one 'lightbulb moment' or a particularly moving story from a Season 3 guest that really stuck with you?
This season I think the continuing lightbulb moment for our listeners will be something we’ve touched on every season, but hearing it from those who employ photographers makes it really clear: it is all about communication. It might not be a revelation for us, but we hope it is for our audience.
Time and time again this season, employers of photographers have emphasised connection, craft and understanding. Photography is a people business, and being great at your craft is just part of it.
For me, 'Mob in Fashion’s' story was particularly moving and inspirational. Seeing a gap in the market for Indigenous talent and creating a space for that to thrive was amazing. David Roennfeldt from 3 Deep also shared a remarkable story about his friendship with his business partner, a bond that has lasted for years. They and their families work and live side by side. It was heartening to hear how two people who met at university have gone on to dominate their field together on a global scale.
5) The Studio Setup: You’ve become known for your 'pop-up' studio at festivals like the Ballarat International Foto Biennale. Have you upgraded to a permanent studio space for Season 3, or is the mobility of your setup still the secret to your candid sound? Any plans to take it on the road?
Ooh, we love that - 'our candid sound.' We’ve been very fortunate to have some amazing sponsors supporting us. Collarts is one of those sponsors, providing us with a pod-suite that we book as needed.
Both of us are super busy, so being organised is essential. Before we go to air, we record all of the sessions. Each season has 12 episodes and this year we booked every Monday in March to spend the day underground in the dark—hahaha. The podsuite is fabulous and we now know it really well.
We’ve had fun adding some simple decorations - plastic plants, throws and some beautiful artwork by Ashley Peters, a Collarts student. It’s a very high-tech space, but the touches give the warmth we love. All seasons have been made there, but yes you are correct, we also have a great mobile setup and work closely with our team to do successful pop-ups like at the Ballarate International Foto Biennale. We are very versatile!
6) Podcasts can be a team effort: Who is in the team handling your post–production and editing, preproduction etc. What are their roles?
When we first started our podcast, we had no idea which way was up. It was an enormous learning curve and continues to be. Before season one, we were introduced to a fabulous third-year music and audio student, Shakeel Rehman. He came in as part of his final-year program to work with us on the season. He knew a lot, understood the gear, and had great backup from Collarts for equipment and advice.
Shakeel has stayed with us for all three seasons and even travelled on the road with us. We have all grown a lot together. Both of us, as you know, are huge supporters of young talent, so this fits perfectly with our ethos.
Each year, we also have another pair of hands helping out. They work for The Brownbill Effect but spend part of their time on the podcast. In the first year, we had Panpan, who created our logo and brand style. Then we had Shene, who continued this work and also joined us on the road, giving a fresh feel to our socials.
This year we have Ezra and Ash, who are combining social content and video as it’s our first year on YouTube. Ash edits all the videos and works alongside Shakeel and Ezra. It’s a happy, tight-knit young team of emerging creatives and we love that.
7) What’s your opinion of PHOTO 2026 closing?
It was such sad news for us to hear that PHOTO Festival closed its doors. It is a real reflection of the current climate and the lack of funding for arts in Australia. They were doing incredible things, bringing Australian and International artists together and celebrating photography in such a broad way throughout Melbourne.
The third and last festival they ran was so successful and such a thrill to be at. It is shocking to think that even an organisation doing such wonderful things not only for photography but for putting Australia on an international stage in relation to it, isn’t immune to the lack of support for the arts.
8) Rising Stars: Who are the "photo industry people coming up" that we should be watching? Are there any emerging talents you’ve recently interviewed who are completely redefining the medium for you?
Oh gosh there are so many it is hard to know where to begin! Aishah Kenton is an incredible emerging artist who works in longer form documentary practice who we interviewed in Season 1 with her partner in life and love Sean Davy.
Lê Nguyên Phương is another beautiful photographer we’ve interviewed who is really making waves not only in Australia but overseas as well. We both work in education so we see so much incredible emerging talent come through. There is a courage and freedom that young photographers have today to really go deep and lean into their own ways of communication through image making that is so exciting to be witnessing.
9) Can you reveal any photo trends?
I think following on from the previous question, there is a rawness to the creativity that is happening at the moment. Although we are in a world of AI and social media communication it feels that there is a push back on it. People are wanting to use film cameras again and be more tactile with their photography. There is a need and want for real human connection and this is coming through in the work that is being made. We noticed this throughout the recording sessions as well. It was so interesting to hear that in a world of digital communication the things that most of our guests cherish and look for when hiring a photographer is connection and personality.
10) How do you think AI is adding or changing the photo industry?
Change is constant, and we have experienced so much in our creative lives, especially in photography. Today, photographers can streamline workflows, experiment with creative concepts, and enhance visuals faster than ever thanks to AI. At the same time, AI raises important questions about originality, authorship, and the value of human skill.
Despite these changes, communication, relationships, and human emotion remain central to finding work. AI is here to stay, and it can be viewed as another tool that photographers can learn to use effectively. It also highlights the importance of diversifying skills and approaches. There are many layers to this conversation, but at the end of the day, our industry is changing, and the question becomes: where do we fit in now, and how do we move forward?
11) Balancing roles – how do you both manage to balance the podcast with your 'day jobs' at Photo Collective and The Brownbill Effect? Has the podcast actually changed the way you approach your own businesses?
Sally: It’s probably best we discuss this separately. For me, I love being busy and I am terrifyingly organised. I even block out time in my diary to “not work “on certain days so I can catch up on life admin. I’m in a good position now with no kids at school, a fantastic assistant in Ezra at The Brownbill Effect, and I can also stop to rest or do some pottery.
Both Harri and I were very clear when we started that this was a love project for us. It can’t get in the way of our lives or our jobs. We also know there are no deadlines, only the ones we put on ourselves, so we work on the podcast when we can and have it spaced well .
Interviewing our guests in chunks has worked well so far, even though it can be intense and we sometimes end up with vertigo after being locked up for days, haha. Each year we change how we do this. Who knows what next year will look like? It may be the same, or it could be a series of pop-ups. Whatever it is, it’s always exciting, but we know family and life come first.
Harriet: It’s a really important question and one we talk about all the time. To be honest I don't have the balance sorted yet. I am constantly trying to put in boundaries to create space for myself, my family, work and creativity. I find it hard to say no when exciting opportunities arise which leaves me with a very full plate however I am getting better at trying to compartmentalise the different areas of my life. It’s a work in progress that’s for sure!
12) Future Vision: If you could sit down with any photographer who is no longer with us – for Season 4, who would be the 'holy grail' guest?
Sally: Oh wow. For me, it would be Dorothea Lange. I loved her work as a young girl, and then at university, back in the day at RMIT, we had to study the history of photography, and she was my pin-up girl. I admired her courage and sense of adventure in tough environments and in what was then considered a man’s world. Her work is raw and intimate, documenting a time and place with a truth that continues to inspire me.
I would love to ask her what her driving force was and how she felt working with so many people experiencing hardship. I’d also ask how she became involved with the Farm Security Administration and her thoughts on the Great Depression. I’d be fascinated to have a conversation about the relationships she formed with her subjects like Florence Owens Thompson, The migrant mother for instance and of course, her 4x5 Graflex camera, wow! I have one myself that I picked up years ago. I could go on forever. She is truly an inspiration to me.
Harriet: Gosh, again, where do you begin! As I sit here and think about all the incredible photographers that have gone before I actually keep coming back to Martin Parr.
Having lost him so recently I guess he keeps jumping to mind. I would love to have talked to him about challenging the photography industry in the way he did. He was quite a divisive photographer, especially earlier on in his career, but he had the commitment to really keep photographing the way he wanted to.
He truly leant into his style which I admire so much. He is also the master of the long term project. The document he left the UK in the photos he made over so many decades, is a true portrait of a place and a legacy. Not necessarily for him, although of course it is his legacy, but a legacy of the UK itself. What an incredible archive to leave behind. We were very privileged to have his camera do what it did for so long.
You can hear the When Harri Met Sally podcast on Podbean, Spotify, or on their YouTube Channel.