“I have reminded myself of the work of Bill Brandt who worked largely in monochrome. His style is interesting for me as his work also has a slightly thriller-like quality.”
Looking at his work again I found a couple more images in Shadow and Light taken on the Isle of Skye:
I had a closer look at some of his images (all in monochrome) that show a deep connection with the English landscape and an interest in dark and foreboding scenes, often taken in bad weather and a fascination in surfaces glistening from recent rainfall. I love his command of light, the deep contrast in his images, and the Film Noir tone. Some of his better-known images are:
Haworth Churchyard (1945)
Cuckmere River, Sussex (1963)
Stonehenge under Snow (1947)
Whilst I would not wish to compare my images with those produced by Brandt a couple of glistening road shots I had taken on The Road to Elgol did come to mind:
John Hayward in the Introduction to Literary Britain had the following to say about Brandt’s imagery:
“This book is a collection of such photographs . . . [whose] purpose, so it seems to me, is to transcend mere representation of their subject and to arouse, through association and memory, a deeper response in those who are disposed to study and enjoy them in the mind’s eye.”
This is a much better articulation than I have managed about what I am trying to achieve in my imagery.
I am now even more inspired to continue along my chosen monochrome path (with Brandt’s images in my rucksack) and feel that if I can gain that connection with the landscape that Brandt achieved then I will be developing my photography significantly!
Hermanson Meister, S (2013), Bill Brandt Shadow & Light, Museum of Modern Art, New York