"There are two stunning photography exhibitions presently showing in London which both compliment and contrast with each other in terms of period,genre and technique. Thomas Struth's gi-normous images at the Whitechapel are awesome in their sharply observed details, drawing you into the vast architectural space which seems to devour the diminished humans. His use of large format plate camera is undoubtedly skilfully considered, and reveals the tenuous relationship between humans and their cultural environment. Yet, somehow, his images appear to me devoid of human compassion or depth of emotion. Even the subjects in his family portraits seem cold towards each other as evidenced by their body language.
In contrast, the Hungarian photographers at the Royal Academy ('Eyewitness') produced evocative and sympathetic pictures during the period of conflict between the wars, that wrenches at your heart and mind in simple black/white 35mm format. Of course, their historical context is not the same as Struth's; they were deeply immersed in their country's war efforts which ultimately drove them to France and the USA. Brassai, Kertesz, Capa and others hugely influenced the history of documentary photography in Europe during the 20th century, and they certainly left me feeling enriched and touched."
Thomas Struth can be seen at Whitechapel Gallery until the 16th September. 'Eyewitness: Hungarian Photography of the Twentieth Century' runs at the Royal Academy until 2nd October.
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