The V&A Print Room

Fortunately, yesterday upon my trip back home to London, I visited the Victoria and Albert Print Room. I was given the opportunity to view and handle original prints from master photographers such as Ansel Adams, Imogen Cunningham, Andre Kertsez and Henri Cartier-Bresson. I was amazed by the fantastic detail and quality of the prints that cannot be seen through the internet or even books. Here are some of my favourite prints which I was lucky enough to experience:

Mono Lake 1955 - Edward Weston

Chez Mondrian, Paris 1926- Andre Kertesz

Andre Kertesz

' Melancholic Tulip' 1939

This is one of my favourite still like images. Kertesz transforms a regular still life object into an extraordinary composition, projecting an emotive atmosphere, causing the tulip to appear for me, as a

This is one of my favourite still life images. Kertesz transforms a regular still life object into an extraordinary composition, projecting an emotive atmosphere, causing the tulip to appear for me, as a

metaphor of a human being, implying the transitional process of life. This image could also be symbolic of the death of Kertesz’s wife whom he lost to cancer.

As the title suggests, the image emerges feelings of melancholy and sadness, reflecting the shape of the drooping tulip. The lighting causes there to be contrast yet still maintaining the gentle grey tones. I feel that the contrast is a symbol of the melancholy and the gentle tones represent the delicacy and vulnerability of the tulip itself, and therefore the person (possibly his wife) for whom is it a metaphor.

The overall mood of this photograph is undeniably solemn, however the gentle tones and delicacy of the print emerge feelings of peacefulness and serenity. For me, it conveys the message that everything eventually comes to an end. Although this is a sad concept, it’s natural and therefore has a sense of comfort. It may not necessarily represent the end of life, but could also be symbolic of specific low times in someone’s life, or a loss of something important to them. The tulip still maintains its beauty despite the fact that it’s gradually coming to the end of its life, increasing the empathy felt by the viewer towards the tulip which could be symbolic of an event in their own life.

For me, every aspect of this photograph - from the contrast, lighting to the darkroom manipulation is symbolic of a particular idea in order to convey a preferred reading from Kertesz to the viewer.

For me, every aspect of this photograph - from the contrast, lighting to the darkroom manipulation is symbolic of a particular idea in order to convey a preferred reading from Kertesz to the viewer

Modernism - Imogen Cunningham

Magnolia Blossom - 1925

Imogen Cunningham was a member of the f/64 group, which in contrast to Pictorialists, supported realism in photography as opposed to emulating painting techniques. The group shared the view that photography should achieve fine art status through exclusively photographic methods.

This image 'Magnolia Blossom' is a gelatin silver print produced in 1925. The image depicts a newly opened Magnolia bud, revealing the extremely detailed, almost sculptural stamen. Traditional of the modernist movement, it is clear that the subject is a magnolia bud, the angle is simple and tones are gentle, reflecting the delicate texture and nature of the actual plant as opposed to trying to make it into something it is not (e.g. a painting).