Re-photo

In the Guardian/Observer Newsroom at 60 Farringdon Road, London EC1, until 25 Jan 2008 you can see ‘Unknown Bown‘ 1947-67, with many of the images also on-line, in a Flash presentation that covers her photography over 60 years.

The Newsroom with some folders of the Manchester Guardian and Bown’s show

Hers is a truly remarkable career – and on-line you can see the first picture she took for the Observer on the 28th January, 1949, a portrait of Betrand Russell. In 2006, she was still taking portraits, and really not that differently, with the best perhaps her image of Dame Maggie Smith, as well as a freshly informal image of the Queen which makes her look like someone’s granny, just after the hairdresser has been in, gussied up for a trip out from the old people’s home.

The selection in the Newsroom does include some of her better-known pictures – and quite a few of those that are on-line, but also has pictures I’d not seen before, including some of the more interesting in the show. So while on-line, Southend on Sea 1954 is just her very well-seen view of two people in deckchairs from behind, in the gallery under the same title there is also a far more exciting and lively Cartier-Bressonesque group (she photographed the man himself in 1957), a man sprawling in the foreground, a woman standing holding a towel or clothing (and another man appears to be dangling one of her feet from his hand) as a boat leaves. And those hats! Similarly there is a picture from the 1957 Fuel Crisis on the wall which I find much stronger than the on-line image.

Much of this work was taken when she was herself a young mother, and there are some fine portraits of young children on the wall (perhaps just a few too many.) But throughout her career she was someone who obviously made people feel at ease – and children are perhaps more sensitive than most adults. She makes people – wherever they are – feel at home, at ease. Where some photographers set out to shock or surprise, her work usually has a warmth, a friendliness, a domesticity that appeals.

Where she does sometimes produce work that is striking is by her use of light. Perhaps her most striking portrait is that of Samuel Beckett, made in 1976, and it is certainly one that qualifies for the title ‘iconic’; on those rare occasions when I think of him, it is her image that I see. But perhaps the selection for the presentation suffers from an overdose of politicians and pop-stars, and is based rather too much on the names rather than the quality of the images. Of course they are all good pictures, but I think not always among her best images, and sometimes are overshadowed by the again iconic images by other photographers.

On show at the Newsroom is also the old Rolleiflex which I think it says cost her £50 in 1947, which seems excessive. In the 1960s she was still carrying this (or perhaps a similar replacement) to assignments in a shopping bag, though changing times and expectations led her to increasingly use an SLR from that time on.  At first it was a Pentax, but one of the things I have in common with her is that we both bought an Olympus OM1 more or less as soon as they came out in late 1972, though I think hers lasted longer, and definitely captured many, many more famous sitters. You can also see more of her work as a student, as well as a picture of her tutor, Ifor Thomas, who recognised the talent of this 21 year old who had just come out of the WRNS and enrolled on his course at the Guildford School of Art. At the time it was the only place in England where photography was not simply taught as a technical subject – though unlike some colleges today they also made sure that students learnt their craft.

I could write more, but I’ve just found two other features on her at the Guardian, Jane Bown: A biography, and an introduction to the Unknown Bown written by  Germaine Greer that perhaps tells you rather too much about Greer’s own prejudices, particularly on the subject of Diane Arbus,  but does also have some interesting thoughts about Bown and her work. Those who know their photography will also spot a few obvious errors, such as the fact that her Olympus OM1 will not be 40 until 2013 and is unlikely ever to sport a 50mm f2.5 lens. They didn’t make one, and most of us were happy with the f1.8, which was a superb performer at the f2.8 that Bown habitually set – with shutter speed of 1/60th using whatever light was available. And if she needed more, most people had a reading lamp. It’s also a discussion of her work that ignores the great cultural and photographic influences of the era in which she grew up and started work, in particular the illustrated weeklies such as ‘Picture Post‘.  While few in that era would have known the name of, for example, Henri Cartier-Bresson, and most photographs were published without attribution (as too many still are) the influence of his and other similar work was strong enough in the early 50s for young turks to feel the need to rebel against it, while others, such as Bown, developed their own style very much within its general ambit.