My London, in different shades of grey.
 |
| Herbert List - The Bird |
“Another London” exhibition I recently went to see at Tate Britain made me think. Am I ready to leave London? The showcase is about London, captured by international photographers between 1930 and 1980.
But it wasn’t just another photography exhibition. It made me think what I would miss if I were to leave the place I leave. The spontaneous stage, the passersby with whom there is no need to interact but who will always be here. A studio you would never have to pay for. Yes, the weather is not fantastic here, but just like other photographers have done, turn the disadvantage to your advantage.
 |
| Herbert List - Love in Capri |
As an immigrant myself I found out that this showcase provided a great insight to the local life in London. Because the exhibition focused on international photographers it was fascinating to see London from a different perspective than Nick Knight’s or Martin Parr’s. London, the melting pot, and how style and culture evolved after the war.
Going through my notes I read ‘this exh. makes me want to pick up my film camera and head out’. Have I ever had this feeling when I am at home? Not really. Because Estonia is a small place. A lot smaller than London. It’s a place where locals are more inquisitive than the crowds. It’s not a multicultural hotspot. Despite that home will always have a warm spot in my heart.
 |
Eve Arnold - One of Four Girls Sharing
an Apartment |
When entering the spacious white rooms I encounter Bill Brandt’s (1904-1983) work through crowds of people scattering by. It’s not my first time seeing his imagery but on this occasion it is in a different genre. I am more aware of his fashion photography, abstract nudes (and highlighting shapes) in high contrast. The ones that always leave me puzzled with its abstract and exquisite monochromatic style.
But here, also in his earlier work, Brandt combines surrealism with society’s everyday life. He records on his film camera the lives of a working class in high contrast, which really highlights the grim and gloomy side of life during London Blitz. War-time London provided ‘inspiration’ for many international photographers. An image of a people sleeping in a tube station captures my eye. I am fascinated by it’s depth, grey-scale in such conditions. The image also provides an insight to the kind of circumstances people had to face. It’s a historical record.
There’s a French photographer Jean Moral (1906-1999) who I had never heard of before. I sense a notion of mystery and playfulness embodied in his images of people. He was influenced by the new vision movement, which emerged in the 1920s artists experimenting with light and different techniques. The use of double exposure and unusual angles make his work unique at this exhibition.
 |
| Jean Moral |
Walking by the images, and passing the observers chatting amongst themselves, I spot the iconic features of London again and again: pigeons, black cabs, curry specialties, markets, the gloomy weather and the curious eyes of passers-by. Many of the artists have played with reflection. Also the moody weather, so characteristic to London, has been featured in the works of many photographers: adding a kind of playful characteristic/element to their images.
In the middle of room one an elderly man wearing glasses leans over a glass box catches my attention. I find him reading E.O. Hoppe’s (1878-1972) book London Types Taken From Life. His images of 70s London have a subtler style to Brandt’s. Hoppe specialized in portraits of society figures and influential personalities in literature and politics. As a German educated banker, he was particularly interested in characters of high society.
By follow the curious observers in room two I spot photographs by ‘my master of shades of grey’, Irving Penn. I have admired his work ever since my college years. During my first year in university I wrote a piece about his retrospective exhibition for an assignment (first ever blog post, 5th May 2010). Usually I approach photographs by observing the scene but with his portraits it has always been the naturalness and his sitter’s characteristics that fascinated me. Each of the portraits embodied a different story and I think this is where he’s work stands out in photography. It’s his way of telling stories, as Tim Walker, a contemporary photographer, does in fashion.
Suddenly I see photographs I seem to remember but then again not quite. Herbert List’s (1903-1975) work reminds me of Herb Ritts’s (1952-2002) photography. Actually it’s the other way around. Hints of erotic and surrealism, flowing from dream states to fantasy with elements such as shape and texture reflect Herbert Ritts’ work. Emerging from the mysteriousness of his abstract and erotic scenes emerged Herbert List’s early fashion photography. However, if there is a photo I would buy it’s the one with a small puddle. The framing and angle makes the image pretty and natural, depicting London inhabitants’ shadows on a sunny day. It reminds me myself on rare sunny days during the chillier season, what it feels like catching shadows. In street photography a good image depends on an angle and framing.
 |
| E.O Hoppe |
“On the street people are most themselves, most honest in their behaviour, in their own way of being.” This quote in room 4 by Lutz Lille (b. 1922) also reflects my fascination about metropolitan cities. When you go to smaller places, yes it depends on the sitter, but in majority of the cases you might lose the moment if you aren’t fast enough. I remember when I applied for a photography course I had to tell a photo story of the Global Recession. I remember sitting at a bus stop and talking to this Russian lady. After we gotten to know each other a lot more, I subtle pulled out my compact camera (given to everyone) and tried to photograph her. She turned away. I never got that shot. I was interested in people and their expressions. Still am. Only these days I don’t ask but capture accordingly.
The photographs in the last two rooms focus on portraiture and street style. Dorothy Bohm (b. 1923) is a Prussian born photographer whose work I saw for the first time. It reminds me a lot of contemporary street photography. How we dress up or don’t, who we stare and who we don’t. She captured interactions on London’s historical background but in a very unique way. I like it that her work isn’t only about clothes, it’s about London, the streets, the inhabitants and the state of the city. At all times. It reflects my version of a stage. Where people are in control, not you.
Eve Arnold’s (1912-2012) imagery persuades me with a touch of elegance and naturalness. Her best known images are of female sitters such as Marilyn Monroe and Elizabeth Taylor who are attractive but captured in natural situations and embodying grace. There are emotions, and it’s the subtle approach I like in her work. An image depicting a woman in a bath, stocking handing over the shower rail titled ‘one of four girls sharing an apartment’. It’s my absolutely favourite. It evokes so much emotion and power.
Al Vandenberg’s (1932-2012) stunning portraits of London’s inhabitants and the periods’ versatile fashion put a smile on my face. His work indicates locals’ mood and lifestyle during the after war period. Also he is one of the few photographers in this exhibition who has captured younger crowds, the ones who hang out on the streets. Vandenberg is a fantastic portrait photographer, who I admire for his photographic eye and bringing out characters’ personality in his imagery.
Many of the artists’ work at Tate Britain praises London for its diversity and picturesque scenes. They are spot on about that. Reflecting my own experience for my final project during nighttime I explored North, South, East and West, where they all vary in styles, crowds and lifestyle. This is London. Can I experience this somewhere else? Maybe, maybe not.
But the real question is, am I really ready to leave London? To be continued…
Picture sources:
.jpg)
