Photographic Contrasts

Press, Volume CVII, Issue 31498, 12 October 1967, Page 14

Photographic Contrasts

One is quickly reminded that photography is not a twentieth-century invention. Some of these works go back to 1851. Although the early photographs are good, especially those taken in favourable light, it is also apparent that sophisticated aids have greatly extended the range of possibility open to the presentday photographer. That this is a good thing, is made unmistakably apparent by many of the more recent works on show. For example, the large, close-up image of the poet Ezra Pound has an unposed directness which tells us much about the man. In contrast an unknown recorder of the last century gives us a rather stiff portrait of the captive Indian, “Chief Medicine Bottle.” The modern work is spontaneous and probably the best of several shots taken in quick succession but the earlier cameraman bad the dubious pleasure of trying to get a diabolical scalp trimmer to smile at the dicky bird for about 10 seconds. In this exhibition the viewer is shown two important and distinct aspects of photography. There are the works of the news reporter, who seeks out the exotic and the unfamiliar. His photographs, seen by millions, make such events, wherever they happen in the world, common property. Then there are those which explore the more familiar. Often they isolate details of everyday life —the grain patterns on a wooden door, an aged peasant’s hands. How important it is to be made aware of these less dramatic things, for such photographs arrest the eye’s tendency to rove superficially, without really seeing, and our perceptions are • effectively sharpened. To make notable use of his means the photographer must search out and select from the confusion of objects around him. This involves personal choice and awareness. The works shown in this interesting exhibition are from the hands of men and women capable of promoting visual and aesthetic understanding of life. All who can should see them. —D.P.