British photography<\/strong> refers to the tradition of photographic work undertaken by committed photographers and photographic artists in the British Isles. This includes those notable photographers from Europe who have made their home in Britain and contributed so strongly to the nation’s photographic tradition, such as Oscar Rejlander, Bill Brandt, Hugo van Wadenoyen, Ida Kar, Anya Teixeira and Sirkka-Liisa Konttinen.<\/p>\n\n\n\n The 1800s: invention and popularisation<\/strong><\/p>\n\n\n\n Many technical innovations in photography were undertaken in Britain during the 19th century, notably by William Fox Talbot and Frederick Scott Archer. Early aesthetic<\/a> breakthroughs were made by Lewis Carroll, Hill & Adamson<\/a>, Julia Margaret Cameron and the Pre-Raphaelite photographers, and the “father of art photography” Oscar Gustave Rejlander. Travelling photography under adverse conditions was pioneered by war photographer Roger Fenton, and brought to a high level in England by Francis Frith and others. There were a number of local photographic societies scattered throughout Britain, often holding large annual public exhibitions; yet photography was mostly deemed at that time to be a science and a ‘useful craft’, and attempts at making a fine art photography almost always followed the conventions of paintings or theatre tableaux. There were also early earnest attempts at “trick photography”: notably of spiritualist<\/a> apparitions and ghosts.<\/p>\n\n\n\n Studio and travelling photographers had flourished in the Victorian and Edwardian eras, but the developing technology eventually allowed the mass-market commercialisation of cameras. With the introduction of the Box Brownie, casual snapshot photography became an accepted feature of British middle-class life from around 1905.<\/p>\n\n\n\n British photography has long had a fascination with recording, ‘in situ’, the lives and traditions of the working class in Britain. This can be traced back to Hill & Adamson<\/a>‘s 1840s records of the fishermen of Newhaven, John Thomson<\/a>‘s photography for the famous book “Street Life in London” (1876), the street urchin photography of Dr. Barnardo<\/a>‘s charity campaigns, Peter Henry Emerson’s 1880s pictures of rural life in the East Anglian fenlands, and Sir Benjamin Stone<\/a>‘s surreal pictures of English folkloric<\/a> traditions.<\/p>\n\n\n\n This Victorian tradition was forgotten once modernism began to flourish from around 1905, but it appeared again in the “documentary<\/a>” (a word coined in the 1920s by John Grierson) movement of the early and mid 20th century in activities such as Mass Observation, the photography of Humphrey Spender, and the associated early surrealist movement. Documentary pictures of the working people of Britain were later commercialised and popularised by the mass-circulation “picture magazines” of 1930s and 1940s such as “Picture Post”. The “Post” and similar magazines provided a living for notable photographers such as Bill Brandt and Bert Hardy. Also very notable is George Rodger’s London work for the US magazine “Life<\/a>.” These large-format picture magazines served covertly as a “education in what a good photograph should look like” for their readers, something that was otherwise totally lacking. The British documentary movement contributed strongly to the poetic nature of some wartime<\/a> early home front propaganda, such as Humphrey Jennings’ approach to film.<\/p>\n\n\n\n 1945\u20131965: the post-war lull<\/strong><\/p>\n\n\n\n After the end of the war, photography in Britain was at a very low ebb. Due to post-war shortages and rationing it was not until about 1954 that it became easy to buy photographic equipment and consumables. As new cameras began to appear, there was debate over the ability to take ‘good’ pictures using old pre-war cameras. This argument was famously answered by “Picture Post” photographer Bert Hardy, who went to the seaside with a simple old Box Brownie camera and came back with some of the most memorable images of England in the mid 1950s. The pre-war picture magazines such as “Picture Post” declined rapidly in quality, and “Picture Post” eventually closed in 1957.<\/p>\n\n\n\n Yet the desire to continue the photographic recording of everyday pleasures was evident in the 1950s Southam Street work of Roger Mayne, and also in the early 1960s in the work of Tony Ray-Jones (his “A Day Off”, 1974). Ray-Jones is known to have scoured London for the then uncollected photographs of Sir Benjamin Stone, one example of the piecemeal but growing awareness of the work of earlier British photographers. Ray-Jones’s extensive legacy in turning the mundane into the surreal can be seen in the 1990s work of contemporary photographers of everyday life and leisure, such as Homer Sykes, Tom Wood<\/a>, Richard Billingham and Martin Parr.<\/p>\n\n\n\n The 1960s: fashion and royalty<\/strong><\/p>\n\n\n\n The tradition of working-class and political photography runs in tandem with photography of the upper classes and British royalty<\/a>, and the photography of the dandy culture of high fashion.<\/p>\n\n\n\n Cecil Beaton was a fashion photographer from 1928 for “Vogue<\/a>“, and later became the official photographer to the Royal Family. Likewise, Lord Snowdon<\/a>, and Lord Lichfield<\/a> continued the association of the British Royal family with photography, an association that had first begun when Queen Victoria<\/a> and Prince Albert patronised the art photographers of their day, and was continued through the establishment of the Royal Photographic Society and the extensive photographic collection of the Victoria & Albert Museum<\/a>.<\/p>\n\n\n\n British fashion photographers – such as John French, Norman Parkinson, those who worked for “Queen” magazine, and later Terence Donovan, Duffy, Sarah Moon, and David Bailey – can all be seen as working in a celebrity tradition that intertwines with that of the glamour of the high-society and royal photographers. In the mid 60s, the Fashion and Advertising Photographers Association was formed. the founding photographers were David Bailey, Brian Duffy, Terence Donovan, David Booth and Jon Kevin. This group of professionals was split between fashion and advertising work, one group labouring under the eye of “Vogue” and the other producing the shots that sold butter. In late 1960s the profession of London “photographer” became a fashionable aspiration. In the 1970s David Hamilton<\/a>, formerly the art director at “Queen” magazine, produced a highly popular series of photograph books in which he blended fashion photography with pictorialism and romanticism, and, some claimed, softcore pornography.<\/p>\n\n\n\n With the later advent of the new romantics, glossy street-style magazines featuring strong photography emerged: “Blitz, i-D, The Face<\/a>“, and others. Implicitly focused on the time-worn idea of the dandy-esque ‘English eccentric<\/a>‘ in youthful form, these magazines often fused the fashion\/celebrity tradition with the British documentary, surrealist and “documenting folk pleasures” approaches to photography.<\/p>\n\n\n\n The 1970s and 80s: the political turn<\/strong><\/p>\n\n\n\n From around 1975 and into first years of the 1980s, the Calouste Gulbenkian Foundation funded Chris Steele-Perkins and Nicholas Battye (as ‘Exit’) to document poverty in the inner cities<\/a>; 29,000 images and hundreds of hours of taped conversations formed a modern equivalent to the Mass Observation work of the 1930s.<\/p>\n\n\n\n Similar extensive archives of pictures of ordinary life were created by: Daniel Meadows with his travelling double-decker bus “Free Photographic Omnibus” gallery and studio in the mid 1970s (“Living Like This”, 1975); the 80,000 image archive of farming life by James Ravilious; and the Amber Collective in the council estates of the north-east (notably the work of Sirkka-Liisa Konttinen and Chris Killip). Other similar photographers were Shirley Baker (Manchester’s working class), Tony Boxall (gypsy<\/a> families), and Gus Wylie (the Hebrides). The anarchist Colin Ward was also notable for his photographic anthology on children’s street culture. Following the lead of Chris Steele-Perkins in documenting the British youth movements (“The Teds”, 1979), other photographers turned their attention to documenting the implicitly political youth movements of skinheads and punk.<\/p>\n\n\n\n Various forms of leftist<\/a> ideology – especially feminism, continental theory<\/a>, and the polemics of Susan Sontag – all affected British thinking about photography from the mid 1970s. These political currents gave rise to feminist photographers such as Jo Spence and Marxist photographers such as Victor Burgin. Don McCullin’s powerful war photography can also be seen as contributing to the intensifying climate of political tension in 1970s Britain.<\/p>\n\n\n\n “Camerawork”, followed by “Ten.8”, were magazines of Marxist photographic thought in the late 1970s and early 80s. Initiatives such as this floundered as Britain moved into the early 1980s under the growing Conservative<\/a> might of Margaret Thatcher. But there was a minor continuation of the documentary tradition – through documentary photography of CND and the Greenham Common camps (Ed Barber, Joan Wakelin, Peter Kennard); the miners strikes (Izabela Jedrzejczyk, Martin Shakeshaft, John Sturrock); and the new age travellers (Peter Gardner, Alan Lodge).<\/strong><\/p>\n\n\n\n The 1980s: the arrival of colour<\/strong><\/p>\n\n\n\n Despite the publication in Britain two decades earlier of the German pioneers Dr Walter Boje and Erwin Fieger, British photographers seemed as gripped by monochrome as the Royal Photographic Society was in Victorian aesthetics. The documentary tradition in British Photography took an important turn when colour was embraced firstly by Paul Graham (photographer) with his work on the late 1970s and particularly “A1\u2014The Great North Road” of 1981\/82 and “Beyond Caring” from 1984\/85, soon followed by Martin Parr with his book “Last Resort,” in 1986. This brought about a huge visual shift in what had previously been a dedicated monochromatic world. Later followers of these, many of whom were Graham or Parr’s students, included Paul Rees, Anna Fox, Tom Wood, Julian Germain, Nick Waplington and Richard Billingham. Both Graham and Parr were included in a prestigious showVague|date=April 2008<\/small> at New York’s Museum of Modern Art in 1990 that included Chris Killip, John Davies and Graham Smith<\/a>. Sadly this important exhibition never made it to the UK, where photography remained ill appreciated by the British art world, and museums like the Tate Gallery, which simply refused to show any work by photographers.Fact|date=April 2008<\/small> Graham and Parr were highly influential on a younger generation not only for their work, but also in their determination to publish work in book form, leading to a vibrant archive of published books by many interesting photographers from the past 20 years.<\/p>\n\n\n\n 1930s\u20131990s: artists as photographers<\/strong><\/p>\n\n\n\n A number of British neo-romantic<\/a> artists have been particularly interested in photography, having first established themselves as artists: such as Paul Nash, Bill Brandt, John Piper<\/a> and Edwin Smith<\/a> in the 1930s, 40s and 50s. In this interest they continued the interest in photography shown by fine artists from the Pre-Raphaelite Brotherhood through to the Surrealists.<\/p>\n\n\n\n Before 1985 notable artists using photography were David Hockney, Graham Ovenden, and Gilbert & George<\/a>, the latter being strongly influential in validating the use of colour in fine art photography in Britain.<\/p>\n\n\n\n Into the 1980s, neo-romanticism again emerged strongly in the work of Fay Godwin, James Ravilious, Andy Goldsworthy, Leigh Preston and Jem Southam – although this was paralleled by an ironic post-modern concern for English landscape in the work of John Goto, Hamish Fulton, Richard Long and others.<\/p>\n\n\n\n 1990\u20132000: staged photography<\/strong><\/p>\n\n\n\n From around 1990 staged fine art photography became seen as valid as art in the commercial art world,Vague|date=April 2008<\/small> and was accepted by many (but not all) gallerists. This form of photography, with its heavy synthetic input,Vague|date=April 2008<\/small> proved easier to digest for a wider art audience, confused by the seemingly ‘observational’ nature of straight photography. Whilst many would dispute this value system, which marginalises most of the 20th century’s profound photographic works, its leverage in opening the doors to the broader art world is widely accepted. This process took about a decade and the breakthrough year in Britain was around 2000. The Director of The Photographers’ Gallery said in an 2005 interview with “Photowork” magazine: “…especially in 2000, photography had begun to be shown in private galleries and larger public museums, and there was a fundamental shift in terms of the fine art culture in the UK<\/a>“.<\/p>\n\n\n\n The photographic book in Britain<\/strong><\/p>\n\n\n\n Before the mid 1960s, few photography books were published. They rested heavily on the conventions of travel-books and literary topographical guides, and examples of these were Bill Brandt’s “Literary Britain” (1951), Edwin Smith<\/a>‘s “England” (1957), Hugo van Wadenoyen’s “Wayside Snapshots” (1957), Antony Armstrong-Jones<\/a>‘s “London” (1958). Apart from these few books, and one notorious book of nudes (“Nudes of Jean Straker” 1958), nothing of note was otherwise produced in book form in the 1950s. There was, however, Norman Hall’s magazine “Photography” (1952-1962). His “Photography” magazine was vital in keeping alive the flickering flame of serious creative photography in Britain, and would feature European photography such as that by Henri Cartier-Bresson.<\/p>\n\n\n\n From 1965, when David Bailey<\/a> and Lord Snowdon<\/a> published successful books, a far wider variety of books of photography began to be published throughout the 1970s, including “Creative Camera” hardback annuals. Dedicated photography book publishers such as Travelling Light (1980) and Cornerhouse (1987) began to start up.<\/p>\n\n\n\n The book format was later to be a vital element in the growing amount of British photographic scholarship, particularly that undertaken by Graham Ovenden in the late 1970s and early 80s, which was to recover entire photographic traditions that had formerly been completely lost to sight. This was greatly aided by the huge collection of 300,000 photographs that the Victoria & Albert Museum<\/a> in London had quietly acquired since 1850, and which by the mid-1970s was becoming accessible due to the appointment of the V&A’s first ‘Keeper of Photographs’, Mark Haworth-Booth.<\/p>\n\n\n\n From 1995 it became increasingly possible to accurately present fine photographs on the web<\/a>, but commercial photography book publishers such as Dewi Lewis Publishing have continued to thrive in Britain. Collecting fine photography books has become a major, although increasingly expensive, alternative to collecting the photographs themselves.<\/p>\n\n\n\n upporting photography in Britain<\/strong><\/p>\n\n\n\n Until the mid 1960s the moribund Royal Photographic Society and its associated photographic clubs dominated British photography. The RPS understanding of photography was of it as an amateur pursuit strongly embedded in pictorialism. This went hand-in-hand-with a wider assumption in Britain that photography was a “mere craft” – suitable only for scientific use, advertising, snapshot portraiture, and newspaper press photography.The break out to the modern era was spearheaded by the Creative Photo Group whose members had resigned from a London club in frustration. They were first recognized in Photokina, Cologne in 1963 by L. Fritz Gruber. Subsequent publication by Robert Hetz of Fotoalmach International continued for the rest of the decade. Serious attention from such critics as Helmut Gernsheim, Dr Walter Boje and Ainslie Ellis was much more slowly taken up by at home. The work of the leading members of the group (Anya Teixeira, Felix Sussman, Rod Williams and Leonard Karstein) is represented now only by some pictures in the Victoria and Albert Museum and some of their published articles.<\/p>\n\n\n\n British scholarship on the history of photography felt the presence of Helmut Gernsheim, who had published and collected in London since his arrival as a refugee in 1942. The hostility of British museums to photography and especially to his proposals for a photographic gallery, at last drove him to sell his collection to the University of Texas, and to live in Switzerland. The reputation of the authoritative books he produced since the 1940s seem to have fallen victim to the general feeling that he should have given his collection to a museum free rather than sell it handsomely as he did.Fact|date=April 2008<\/small><\/p>\n\n\n\n Newer approaches to photographic education slowly emerged after the Second World War<\/a>. Hugo van Wadenoyen had led the “Combined Societies” breakaway split from the Royal Photographic Society after the war, and Ifor Thomas introduced a new aesthetic approach to teaching photography at the Guildford School of Art.<\/p>\n\n\n\n Two important magazine outlets for photography emerged from the mid 1960s. First, from 1966 the “The Sunday Times” colour magazine (and its later imitators), and secondly the highly influential magazine “Creative Camera” (1968 onwards first using a suggested list of contributors provided by the Creative Photo Group). “Creative Camera” was, until the early 1980s, strongly influenced by the humanist and spiritual approaches to photography of Alfred Stieglitz, Ansel Adams, Minor White, and John Szarkowski, and by a general belief that one had to travel to America to find out ‘what photography was really about’.<\/p>\n\n\n\n The Arts Council had only funded three photography exhibitions from 1946 until 1969, although London’s ICA<\/a> had given some support to creative photographers. Small independent photography galleries only began to appear from 1970; most notably The Photographers’ Gallery in London, and later the Side Gallery in Newcastle-upon-Tyne.<\/p>\n\n\n\n British photography was slowly reviving by 1970 and, alongside magazines like “Creative Camera”, education would become its main vehicle. In 1970 the first British university degree course in photography was established, and so from 1973 the Arts Council employed a new Photography Officer, Barry Lane, to deal with requests for exhibition funds from the first crop of graduates. The influential photography diploma courses at Nottingham Trent Polytechnic, and the Derby College of Art were combined from 1971, and the combined Trent\/Derby course was highly successful. There was also a notable course at the Newport Art School<\/a> in Wales. The Glasgow School of Art began a course in fine art photography in 1984, under Thomas Joshua Cooper. From the mid 1970s important lecturers began to set up short-term forms of advanced creative photography education. The first of these was in 1976 when Trent lecturer Paul Hill established the first residential photography workshop, “The Photographer’s Place”, in the Derbyshire Peak District. Paul Hill’s course-in-a-book “Approaching Photography” was also widely influential. The advent of such intensive photographic education nurtured a number of lecturer-practitioners whose creative work reached new heights and received strong media attention, such as Raymond Moore and Thomas Joshua Cooper. One of their joint concerns was with making fresh approaches to picturing the British landscape.<\/p>\n\n\n\n Since the 1980s, photographic education has failed to break out of further-education colleges and the universities. There has been very little penetration of photography education into schools, beyond activities such as providing schoolchildren with disposable cameras for basic snapshot photography.<\/p>\n\n\n\n Today a number of major London galleries show photography, including Tate Modern and the Victoria & Albert Photography Gallery, with Tate Britain’s first major exhibition of British photography “How We Are: Photographing Britain” appearing in 2007. There is the National Media Museum (formerly the National Museum of Photography, Film and Television) in Bradford, established in 1983. Despite decades of arts funding cuts, there are still a handful of small photography galleries around the country, and the Photographer’s Gallery survives in London. There is the annual Hereford Photography Festival, and the Brighton Photo Biennale. Dewi Lewis Publishing in Stockport produces a wide range of books, and finding second-hand photography books has been revolutionised by the internet. Since 2000, a half-dozen new British print magazines have appeared, dedicated to providing a space for creative photographers, such as: “ei8ht”; “Photoworks” and “Next Level”. The Jerwood Photography Awards and the CitiGroup Photography Prize have raised the profile of photography in the British press.<\/p>\n\n\n\n Further reading<\/strong><\/p>\n\n\n\n *Helmut Gernsheim (author)”Creative Photography: Aesthetic Trends 1839-1960″ Faber and Faber,London 1962 See also<\/strong><\/p>\n\n\n\n *Documentary photography https:\/\/en-academic.com\/dic.nsf\/enwiki\/1534273<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Gosh! I get a mention in this academic piece on ‘British Photography’ under ‘The 1970’s and 80s: the political turn’. Am in good company here! British photography refers to the tradition of photographic work undertaken by committed photographers and photographic artists in the British Isles. This includes those notable photographers from Europe who have made their home in Britain and contributed so strongly to the nation’s photographic tradition, such as Oscar Rejlander, Bill Brandt, Hugo van Wadenoyen, Ida Kar, Anya Teixeira and Sirkka-Liisa Konttinen. The 1800s: invention and popularisation Many technical innovations in photography were undertaken in Britain during the 19th century, notably by William Fox Talbot and Frederick Scott Archer. Early aesthetic breakthroughs were made by Lewis Carroll, Hill & Adamson, Julia Margaret Cameron and the Pre-Raphaelite photographers, and the “father of art photography” Oscar Gustave Rejlander. Travelling photography under adverse conditions was pioneered by war photographer Roger Fenton, and brought to a high level in England by Francis Frith and others. There were a number of local photographic societies scattered throughout Britain, often holding large annual public exhibitions; yet photography was mostly deemed at that time to be a science and a ‘useful craft’, and attempts at making a fine art photography almost always followed the conventions of paintings or theatre tableaux. There were also early earnest attempts at “trick photography”: notably of spiritualist apparitions and ghosts. Studio and travelling photographers had flourished in the Victorian and Edwardian eras, but the developing technology eventually allowed the mass-market commercialisation of cameras. With the introduction of the Box Brownie, casual snapshot photography became an accepted feature of British middle-class life from around 1905. =1845\u20131945: a century of anthropological documentary= British photography has long had a fascination with recording, ‘in situ’, the lives and traditions of the working class in Britain. This can be traced back to Hill & Adamson‘s 1840s records of the fishermen of Newhaven, John Thomson‘s photography for the famous book “Street Life in London” (1876), the street urchin photography of Dr. Barnardo‘s charity campaigns, Peter Henry Emerson’s 1880s pictures of rural life in the East Anglian fenlands, and Sir Benjamin Stone‘s surreal pictures of English folkloric traditions. This Victorian tradition was forgotten once modernism began to flourish from around 1905, but it appeared again in the “documentary” (a word coined in the 1920s by John Grierson) movement of the early and mid 20th century in activities such as Mass Observation, the photography of Humphrey Spender, and the associated early surrealist movement. Documentary pictures of the working people of Britain were later commercialised and popularised by the mass-circulation “picture magazines” of 1930s and 1940s such as “Picture Post”. The “Post” and similar magazines provided a living for notable photographers such as Bill Brandt and Bert Hardy. Also very notable is George Rodger’s London work for the US magazine “Life.” These large-format picture magazines served covertly as a “education in what a good photograph should look like” for their readers, something that was otherwise totally lacking. The British documentary movement contributed strongly to the poetic nature of some wartime early home front propaganda, such as Humphrey Jennings’ approach to film. 1945\u20131965: the post-war lull After the end of the war, photography in Britain was at a very low ebb. Due to post-war shortages and rationing it was not until about 1954 that it became easy to buy photographic equipment and consumables. As new cameras began to appear, there was debate over the ability to take ‘good’ pictures using old pre-war cameras. This argument was famously answered by “Picture Post” photographer Bert Hardy, who went to the seaside with a simple old Box Brownie camera and came back with some of the most memorable images of England in the mid 1950s. The pre-war picture magazines such as “Picture Post” declined rapidly in quality, and “Picture Post” eventually closed in 1957. Yet the desire to continue the photographic recording of everyday pleasures was evident in the 1950s Southam Street work of Roger Mayne, and also in the early 1960s in the work of Tony Ray-Jones (his “A Day Off”, 1974). Ray-Jones is known to have scoured London for the then uncollected photographs of Sir Benjamin Stone, one example of the piecemeal but growing awareness of the work of earlier British photographers. Ray-Jones’s extensive legacy in turning the mundane into the surreal can be seen in the 1990s work of contemporary photographers of everyday life and leisure, such as Homer Sykes, Tom Wood, Richard Billingham and Martin Parr. The 1960s: fashion and royalty The tradition of working-class and political photography runs in tandem with photography of the upper classes and British royalty, and the photography of the dandy culture of high fashion. … Continue reading
=1845\u20131945: a century of anthropological<\/a> documentary=<\/p>\n\n\n\n
* Colin Macinnes and Erwin Fieger (authors) “London,City of Any Dream’ Thames and Hudson,London 1963
*Dr Walter Boje (editor)”Magic with the Colour Camera” Thames and Hudson,London,1963
*Ainslie Ellis (Reviewer) “The Creative Photo Group” British Journal of Photography. October 16th,1964
*Helmut and Alison Gernsheim(authors). “A Concise History of Photography,Thames and Hudson,London 1965
*Anya Teixeira (Reviewer) The Photographic Journal, The Royal Photographic Society, November 1967 page 371
* Renate Gruber, L. Fritz Gruber, Helmut Gernsheim (authors)”The Imaginary Photo Museum : 457 photographs from 1836 to the present”Penguin Books ,London 1981
* Martin Harrison (Ed.). “Young Meteors: British Photojournalism, 1957\u20131965”. Cape, 1998.
* John Benton-Harris & Gerry Badger (Eds.) “Through the Looking Glass \u2014 Photographic Art in Britain, 1945\u20131989”. Barbican, 1989
* David Brittain (Ed.) “Creative Camera: thirty years of writing”. Manchester University Press, 1998.
* “British Photography: Towards a Bigger Picture”. (Entire issue of Aperture magazine<\/a>; Issue 113, 1988
* Val Williams and Susan Bright “How We Are: Photographing Britain” Tate, 2007<\/p>\n\n\n\n
*English art
*Art of the United Kingdom
*History of Photography
*History of the camera<\/p>\n\n\n\n