Graham Harrison looks at the life and work of Julia Margaret Cameron and the history of an unsettled and priceless collection of work which includes some of her finest photographs, that seems set to make a controversial move from the National Media Museum at Bradford to the V&A in London.
It’s nearly 40 years since Harold Evans wrote Pictures on a Page, generally considered the definitive text on photojournalism, graphics and picture editing. Graham Harrison reads an early edition of the book and meets the celebrated newspaperman in London as he collects a major publishing award.
As the exhibition Conflict Time Photography opens in Essen, Germany after four months at Tate Modern in London, Graham Harrison considers some big prints with obscure titles with the help of The Violence of the Image, a book that examines the impact of war photography on modern society.
‘Only in England,’ the inaugural exhibition at the Media Space, the London venue for the National Photography Collection, places Martin Parr’s early black and white project, The Non-Conformists, beside the work of Tony Ray-Jones who Parr cites as a major influence. Graham Harrison visits the Science Museum to take a look.
Born one hundred and fifty years apart the achievements of the struggling landowner and inventor Nicéphore Niépce and the groundbreaking photo historian Helmut Gernsheim were inextricably linked when Gernsheim rediscovered Niépce’s long-lost first photograph in a trunk. Graham Harrison looks at the exploits of the photographer turned historian and of the brilliant, but ill-fated, Frenchman who Gernsheim proved was the true inventor of photography.
Within a year of producing one of the greatest portraits of the nineteenth century photographer Robert Howlett lay dying in his Kensington lodgings. Finding the history books wanting, David White argues it’s time to reassess the importance of the Victorian with the modern eye.
Published in 1934, J.B. Priestley’s English Journey became one of the most influential books in the nation’s response to the Great Depression. When photographer John Angerson retraced the writer’s footsteps three quarters of a century later he found a changed landscape, but one in which Priestley’s observations, and the observations of some great British photographers remain as pertinent as ever, writes Graham Harrison.
Bert Hardy was the star troubleshooting photojournalist on Picture Post, Britain’s most influential picture magazine. But a story he shot in 1950 during the Korean war seemingly precipitated its decline and fall. On the seventieth anniversary of the launch of the mass-market weekly Graham Harrison turns back the pages of photographic history and looks forward to a reassessment of Hardy’s career.