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Evocations of Place: The Photography of Edwin Smith
Hailed by the poet and architectural historian Sir John Betjeman as "as genius at photography", Edwin Smith (1912-1971) was one of Britain's foremost photographers. At the time of his death he was widely regarded as without peer in his sensitive renditions of historic architecture and his empathetic evocations of place. The recurrent themes of Smith's work - a concern for the fragility of the environment; an acute appreciation of the need to combat cultural homogenization by safeguarding regional diversity; and a conviction that architecture should be rooted in time and place - are as pressing today as when Smith first framed them in his elegant compositions. By providing the first in-depth survey of his work, this book introduces Smith's poignant imagery to a new generation.
- GenresPhotography
176 pages, Hardcover
First published May 1, 2007
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About the author
Edwin George Herbert Smith
29 booksEdwin George Herbert Smith (15 May 1912 – 29 December 1971) was an English photographer. He is best known for his distinctive vignettes of English gardens, landscapes, and architecture. On his own or in partnership with his wife, the artist and writer Olive Cook, he authored or contributed to numerous books.
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Displaying 1 - 3 of 3 reviews
November 25, 2014
Edwin Smith (1912-71) is an accomplished and recognized British photographer whose name is nonetheless not so well known probably because he can too easily be categorized as a "genre" photographer. But this is not right. It's like categorizing Ansel Adams as a nature photographer.
Smith's preferred subjects were traditional or venerable—sometimes in a state of ruin—scenes and objects or artifacts from British society and history. Growing up in early 20th-century Great Britain, Smith can be seen as trying to capture the country's fading past before its images disappeared completely; while they still had recognizability and an aura. Evidences of this mentality are overt in the scenes, people, perspectives, and tones of Smith's photographs. But seeing only this is seeing the photographs only superficially. It's not that there is a depth to grasp, complexity to decipher, or hidden meanings to the photographs. It is to miss the craft of the photos—the sheer, admirable and often striking technical ability rendering the traditional settings, etc., individualized and timeless—as in Ansel Adams' photographs of nature scenes.
Smith has been called the "English Atget." This is apt (more than a comparison to Adams though Adams' photos are better known to make the point about Smith). As Atget simplistically seems to be trying to capture urban and countryside subjects of France fading in the palpable inexorable tide of modernism, he was advancing familiarity with a camera as a device for recording and registering surroundings, refining techniques of development, and putting the stamp of individuality on photographs in such a way to create a distinctive style and leave a body of work. The same for Smith.
Since Smith is not so well known beyond Britain and is not a household name in Britain for that matter, the book is neither a retrospective nor re-evaluation, but is largely an introduction. As such, the presentation, treatment, and style is not critical even to the point of much comparison, but is generally favorable as if kindling appreciation. Biographical information is given, Smith put in context, the photography project explained, and the subjects discussed. The book is a full introduction extending beyond mere identification or positioning. With Elwall's weave of relevant topics, the significant, though largely unheralded British photographer Edwin Smith is fully developed as a distinctive artist and advanced photographer. The many photographs mixed with the text and in three sections of full-page ones have their part too the appreciation of him.
Smith's preferred subjects were traditional or venerable—sometimes in a state of ruin—scenes and objects or artifacts from British society and history. Growing up in early 20th-century Great Britain, Smith can be seen as trying to capture the country's fading past before its images disappeared completely; while they still had recognizability and an aura. Evidences of this mentality are overt in the scenes, people, perspectives, and tones of Smith's photographs. But seeing only this is seeing the photographs only superficially. It's not that there is a depth to grasp, complexity to decipher, or hidden meanings to the photographs. It is to miss the craft of the photos—the sheer, admirable and often striking technical ability rendering the traditional settings, etc., individualized and timeless—as in Ansel Adams' photographs of nature scenes.
Smith has been called the "English Atget." This is apt (more than a comparison to Adams though Adams' photos are better known to make the point about Smith). As Atget simplistically seems to be trying to capture urban and countryside subjects of France fading in the palpable inexorable tide of modernism, he was advancing familiarity with a camera as a device for recording and registering surroundings, refining techniques of development, and putting the stamp of individuality on photographs in such a way to create a distinctive style and leave a body of work. The same for Smith.
Since Smith is not so well known beyond Britain and is not a household name in Britain for that matter, the book is neither a retrospective nor re-evaluation, but is largely an introduction. As such, the presentation, treatment, and style is not critical even to the point of much comparison, but is generally favorable as if kindling appreciation. Biographical information is given, Smith put in context, the photography project explained, and the subjects discussed. The book is a full introduction extending beyond mere identification or positioning. With Elwall's weave of relevant topics, the significant, though largely unheralded British photographer Edwin Smith is fully developed as a distinctive artist and advanced photographer. The many photographs mixed with the text and in three sections of full-page ones have their part too the appreciation of him.
June 15, 2008
One of the almost unkknown but great photographers of British life and culture.
Unusually he photographed largely for print (mostly photogravure) rather than photographs as such which perhaps is why he has beenunjustly ignored.
An excellent selection. A pity that which photos are printed in which books is not noted (I guess they were reprinted from the negatives or working prints?)
Unusually he photographed largely for print (mostly photogravure) rather than photographs as such which perhaps is why he has beenunjustly ignored.
An excellent selection. A pity that which photos are printed in which books is not noted (I guess they were reprinted from the negatives or working prints?)
October 13, 2007
These photographs are beautiful and haunting.
Displaying 1 - 3 of 3 reviews