I found this article in the British Library during my first research visit to London. The piece, headed “Joan Craven Discusses Photography in an interview with Janet Bunt”, was published in The British Journal of Photography on May 8, 1936
As one ascends the stairs to Miss Joan Craven’s studio, one’s interest is held by the portraits which adorn the walls. The delightfully unconventional poses of the kiddies; the apparent lack of camera-consciousness in all her sitters, given a little indication of the very charming personality of Miss Craven herself. Added to her undoubted ability, that would seem one of the secrets of her success.
Her advertising pictures such as “Perparing to be a Beautiful Lady” are familiar to all, and her unerring choice of the right model is unmistakable in the De Reszke advertisements. Her gifts are so versatile that she combines the profession of photographer with that of innkeeper; certainly a unique combination, but her opinions as a portraitist, too, are very interesting.
“Do you consider there have been great changes in portraiture?” I asked.
When I first became interested in photography all the women sitters were looking for bees in a bunch of lillies
“No, not great changes; in fact I cannot see that there has been much difference in the portraits of men, but those of women have improved a great deal. When I first became interested in photography all the women sitters were looking for bees in a bunch of lillies. There is much more character in the portraits to-day – the films help to educate people in this respect; such films as ‘Man of Aran,’ for instance. Gradually the public are beginning to understand and appreciate character in their portraits. German photographers are more courageous than we are, many of their portraits are quite untouched; but there again the influence of cinema may be one reason, because their film stars use little, if any, make-up.”
“As a nation, we are perhaps more conventional than the Germans?”
I don’t think our British public could stand seeing themselves unretouched
“Yes; I don’t think our British public could stand seeing themselves unretouched. A portraitist will submit proofs to his sitter, and as we all know she invariably chooses the one he thinks most commonplace; it is the same in advertising photography. New ideas! Something unusual! is the cry, and you produce such a set of pictures; you may include one idea which you think is hackneyed, and more often than not that one is the advertiser’s choice.”
“Do you think that the idea far outweighs technique in importance?”
“The idea is the more important, because unless it has ‘selling punch’ and can ‘get over’ to the public, the advertiser is not interested; but technique is very important too. You may have a marvellous idea, but if the print won’t reproduce well, then a copy must be sketched or the photograph taken again. It is very necessary to study technique from the reproduction point of view.”
“Yes and it would appear to be even more important in colour reproduction. Do you think that colour will soon be in general use?”
“Well, from the specimens I have seen, made after many experiments, I should think it is a long way off yet.”
“Colour vies with the miniature camera in interest to-day. Do you use a small camera very much in your work?”
If I want a bathing pool picture for an advertisement, then I take a small camera and go to a bathing pool, photograph the model there, and have a swim myself
“Yes, but principally for outdoor photography. If I want a bathing pool picture for an advertisement, then I take a small camera and go to a bathing pool, photograph the model there, and have a swim myself. I use it, too, for garden pictures of children. Snapshotting has been made so simple for the amateur that sometimes people find it difficult to believe that it is possible to get a professional picture with a small camera. A friend asked me to photograph her small boy in the garden, and when I arrived she looked at the camera. ‘Oh! You’ve only brought a snapshot camera,’ she said. ‘I am disappointed!’ Later, when she saw the prints, she was so pleased with them that I was able to prove to her that all cameras are not just ‘snapshot’ cameras.”
“Do you think the chances of success in photography are as great for women as for men?”
“I think they are equal; there is plenty of room at the top for both sexes!”
“Then you would consider it a progressive career for girls?”
Until recently it has not been easy for a girl to obtain tuition, and though the schools are admirable, I personally think that contact with genuine sitters is much better.
“Oh! Quite, but if a girl takes up photography with the intention of one day running her own studio, then I think it is necessary for her to work in an actual studio, with a photographer. Until recently it has not been easy for a girl to obtain tuition, and though the schools are admirable, I personally think that contact with genuine sitters is much better. Then I think, if possible, she should go to Germany or Vienna to finish her training.”
A waiting sitter brought the discussion to an end, and although training abroad much remain a dream for many, it is still possible to study the work of foreign photographers, which must bring a renewal of enthusiasm and freshness of outlook.
In Search of Joan Craven 