It’s fascinating to think about how photography, something so ubiquitous today, was once a groundbreaking innovation. The V&A, with its forward-thinking acquisition in 1852, was right there at the forefront, holding its first photography exhibition just six years later. Imagine the wonder of those early visitors, encountering images captured through entirely new processes.
Today, the V&A's photography collection is nothing short of monumental. We're talking about roughly 800,000 images, a vast panorama stretching from the 1820s all the way to the present. It’s a collection that houses the works of pioneers like William Henry Fox Talbot and Julia Margaret Cameron, alongside icons such as Cecil Beaton and Eadweard Muybridge. It’s a veritable library of visual history.
What’s particularly compelling is the sheer diversity of stories photography can tell. The museum delves into the experimental and spiritually attuned work of artists like Pamela Bone, or the powerful portraits by Maud Sulter that celebrate Black British women. Then there’s the exploration of specific themes: photographing the American South to understand its complex identity, or a meditative journey into the woods with a celebration of trees. It’s clear that a photograph can be so much more than just a snapshot; it can be a profound statement, a historical document, or a deeply personal reflection.
I’m always struck by how photography can illuminate overlooked aspects of culture and society. The ‘Staying Power’ exhibition, for instance, shines a light on the significant contributions of Black Britons to culture and photography itself. Similarly, exploring 100 years of nature photography or the evolution of colour photography reveals how our perception of the world has been shaped by the camera’s evolving capabilities.
And then there are the more unusual, perhaps even slightly eerie, corners of photographic history. A brief history of ghosts and spirit photography offers a glimpse into Victorian obsessions with the supernatural, while the allure of vampires is explored through print, photography, and posters. It’s a reminder that photography has always been intertwined with our fascinations, our fears, and our desires.
Looking behind the scenes, too, offers a unique perspective. Think of Mary McCartney’s ‘Off Pointe,’ capturing intimate moments with Royal Ballet dancers, or the focus on the camera itself, as seen in Marta Weiss’s ‘Camera Exposed’ display. It’s about understanding the tools and the contexts that bring images to life.
From the making of iconic images, like the one of Christine Keeler in 1963, to the surrealist explorations of strange shapes and bizarre landscapes, photography consistently challenges our perceptions. It’s a medium that can be political, personal, experimental, and deeply artistic. Even the act of using historical equipment, like a Victorian sliding box camera or a plate camera, offers a tactile, almost ASMR-like experience, connecting us to the past in a very tangible way.
It’s inspiring to see how different photographers approach their craft. Whether it’s Jodi Bieber inviting women to pose in their own homes for ‘Real Beauty,’ or Maurice Broomfield documenting Britain’s industrial landscape, each artist brings a unique vision. James Barnor’s studio, street, and style photography, or Grace Robertson’s capturing of everyday British women’s lives, showcase the breadth of human experience that photography can encompass.
Even collectors like Sir Elton John and David Furnish find a profound truth in photographs, seeing them as powerful storytellers. In an age where everyone can take a picture, the question of what makes an image ‘great’ becomes even more pertinent. The V&A’s collection, with its vast scope and depth, offers a compelling answer, demonstrating that photography is far more than just an image; it’s a conversation, a history, and an art form that continues to evolve and captivate.
