How A Photo Book With Old Images Impacted My Photography

Introduction

I was lucky enough to stumble upon this book while browsing the bargains area of Barnes & Noble.

It is a photo book with old images from London, United Kingdom, taken between 1870 and 1945, providing a unique insight into how the city and its inhabitants looked during those years.

Philip Davies has curated the images in the book, an architectural historian who - from 2005 to 2011 was the Planning and Development Director for London and South-East England at English Heritage.

From the dust jacket: "Lost London 1870-1945 is a spectacular collection of more than 500 of the best images from the formor London County Council archive of photographs... Most have been never published before. Taken to rovide a unique recored of whole districts of London as they were vanisching, each of the photographs is a full-plate image, a stunning work of art in its own right."

• Published: 2009

• Publisher: Transatlantic Press

• ISBN: 978-0-9557949-8-8

• Size: 11 6/8" x 9 7/8" x 1 1/2"

• Available on Amazon and eBay

Review

The book has 14 sections, with the photo sections arranged according to period and city areas:

• Foreword by HRH The Duke of Gloucester

• Author's Note

• Introduction - The Lost City - Images of London 1870-1945

• Chapter One - Urban Penumbra - The City fringe

• Chapter Two - Engine of Commerce - The City of London

• Chapter Three - Between Two Cities - Holborn and Strand

• Chapter Four - Imperial Capital - Westminster and the West End

• Chapter Five - City Of Dreadful Night - The East End

• Chapter Six - London-Over-The-Water - South London

• Chapter Seven - Urban Villages - Villas and leafy gardens

• Chapter Eight - Zenith 1918-39 - Sovereign of cities

• Chapter Nine - Catastrophe 1940-1945 - A city in ruins

• Index

• Acknowledgements

The first thing that struck me was that the quality of the images is remarkable. They have great detail and excellent tonality. We only wish future generations can view our currently mainly electronically created images with the same quality after one or two hundred years.

The book also provides a great history of photography in London in its Introduction. Not only its 'why' but also its 'how.'

"Photography was not easy in London. Henry Dixon recorded how he had to obtain a photograph in a crowded street by removing a wheel from a wagon, and while his assistant pretended to mend it, he photographed his subject from under the canvas." [pp. 24-25]

The images also show how the photographers had to work the light to create their photos: look at how buildings in the background are over-exposed due to the exposure time needed for foreground objects.

The book's main objective is to create a sense of urgency with the viewers of the importance of preserving architectural gems. To paraphrase from the Foreword: This kind of photography emphasizes the task of English Heritage (and similar organizations in other countries!) to preserve the best of historic buildings, help the general public understand why they should be kept, and increase the understanding of the significance of these buildings for our history.

For me, however, the value and importance of the book and the photographs go far further than this. The images of the streets, buildings, and people provide us with a unique insight into how people lived during the period covered by the book. It is a true social documentary trove and "Spanning a period of 75 years from the mid 1870s to 1945, [the photographs] depict a world in transition." [p. 9]

"Some of the physical impacts of these profound changes can be seen in these photographs - the arrival of tramlines, the progressive replacement of horse-drawn vehicles by motor cars,..." [p. 27]

While Davies, in his Introduction, does a great job to explain the importance of the images from an architectural history perspective and while he provides us with a socio-economic reference frame for the period covered, it is the images themselves that tell that story best.

"As primary sources of historical evidence, [the photographs] are by their very nature impartial, and bear witness to past places or events, undistorted by the interpretation of their creator." [p. 9]

One of my first reactions was Eugene Atget coming to mind when first browsing through the images: the streets, sometimes with and sometimes without people. Important in that context is that "[The images] have been selected to show the commonplace rather than the great-set pieces,....which conveys so vividly the actual feel of London as it then was..." [p. 9] and they are "important documents of social and topographical history,..." [p. 9]

Consequently, I dare say that Davies did for the multiple photographers whose images he used in the book what Berenice Abbott did for Eugène Atget.

Other images reminded me of Lewis Hine with their harsh directness and focus.

Conclusion and Recommendation

This book is a monumental document about one of the world's great cities and about the photographers who documented the changes in London over 75 years.

It provides a unique, intimate insight into the status of London's buildings and streets and the lives of its inhabitants.

In conclusion, this is a remarkable document, and it has very much influenced my view about street and social documentary photography. Creating images of the places I visit, I also try as much as possible to have my photographs as impartial and undistorted by my interpretation of the scenes I observe as possible.