A photographer of great breadth.

Self portrait, 1925. Click to go to Amazon US. I get no payment if you do that.

I have written before of my distaste for the term ‘Woman photographer’. How gender has anything to do with the quality of the work beats me and, were I a woman, I would feel mightily offended to be included in a show of ‘Women photographers’, for that would suggest I needed gender bias as an excuse for avoiding honest competition with my male peers.

Germaine Krull needs no such gender-specific excuse for her work, much of it in the 1920-1939 period, is as good as it gets. Looking at her images you can see that Cartier-Bresson studied them as a child because he takes over where she left off, many of his early snaps from the 1930s bearing a striking resemblance to Krull’s work. Reportage is a dominant theme, but reportage with a strong eye for composition and drama.

If you click through to the Amazon link, above, be sure to look through the ‘Look Inside’ section where a truly amazing selection of images is reproduced. If you like what you see, buy the book which comes along with a scholarly biography, as you might expect of MIT, the publisher. What MIT is doing publishing a monograph on a great photographer beats me, but we should all be grateful that their massive endowment is being put to good use. It beats export of intellectual property to China, through all those ‘guest’ students from Beijing busy scurrying off with our technologies.

Krull’s natural sensibility was that of a liberal and it shows in her work. Quite how anyone claiming to be ‘conservative’ can ever take good pictures of people mystifies me. In fact I challenge you to name one good conservative worker in the genre. What would they do – go to the mansions of plutocrats to picture them with all their possession in the manner of suck-ups like Slim Aarons?

The Krull book is expensive but Amazon lists any number of used ones for much less, which is how I bought mine.