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Today Gillian Tindall, Distinguished Historian & Contributing Writer, contemplates the paradox of photography – that brings us closer to history yet also separates us from the past.

Boulevard du Temple, Paris, by Louis Daguerre, 1838

It is over a hundred and fifty years years since photographic portraits ceased to be an exotic rarity and began to make their way into the homes of those with a little money to spare. And it is over a hundred years since the first cinemas opened to show flickering silent movies.

For all the centuries before, nearly all people and places that had gone were lost forever, surviving only in the memories of those who would themselves disappear in turn. As each generation died, another tranche of the past slipped quietly into the vast pool of the irretrievable. The faces of kings and a few others rich or famous enough to be painted from life were preserved. But the vast majority of men and women, however prosperous, however active and handsome, however busy their lives, simply became – as the Bible quietly warns – ‘as if they had never been born’.

The tiny minority whose names survived because their stories were told and re-told were typically portrayed in clothes and circumstances that belonged to the time of telling rather than those of their own date. We are used to seeing Mary the Virgin in medieval dress and Christ garbed something like a travelling friar of the same era. It does not bother us that the Palestinian garments of two thousand years ago may have been rather different.

Similarly, our Elizabethan ancestors, looking back into history, were quite at ease imagining that people had always lived and thought more or less as they did. Actors wore the contemporary clothes of their own time rather than ‘period costume.’ The battle scenes in Macbeth bear more relation to the Wars of the Roses  – which in Shakespeare’s childhood would still have been remembered by the old – than they do to the battles of the Scottish usurper of five hundred years earlier. And the famous dinner, at which Macbeth is alarmed by Banquo’s ghost, resembles an Elizabethan social gathering rather than anything credible in a remote Scottish glen in the Dark Ages.

Today, if we have any acquaintance with history, we understand the past – I will not say ‘better’ but ‘differently.’ We know that our ancestors, though ‘just like us’ in some ways, did not speak or even think like us. They feared things we do not fear and were robust-minded in ways that shock us. We know they had different assumptions from us, different moral imperatives and different expectations. They are Philip Larkin’s ‘endless altered people’, forever walking down the church aisle in the same way – yet not quite the same.

Anyone who has seen They Shall Not Grow Old, the World War One documentary – with clips of the era adjusted to modern film-speed, coloured and with a sound-track added – will know what I mean. In one way, these young men brought back to life again, so many of whom did not survive till 1918, are painfully like our own husbands, brothers, sons. Only, they are not. They are preserved in an eternal moment that brings them close just as it keeps us apart from them. So much about them – their clothes, their weapons, their slang, their bad teeth, their boots, their mannerisms – indicate that it is the irretrievable past we are viewing.

Another remastered film came my way recently, of a journey along the Regent’s Canal in its working heyday, interspersed with fleeting views of  surrounding streets. No Camden Lock market then, instead barges loaded with timber and hard-core, slowly pacing horses and men shifting crates. But no thumps and bangs, no clopping of hooves or crash of water into locks, for films were silent then. Instead, elegiac music has been added, even over the glimpses of streets full of trams and open-topped buses. Nothing could emphasise more the fact that, since the film was shot in 1924, all the busy people in hats and long coats, glancing curiously at the camera as they hurry pass, must now be dead.

The same is true of many other street photographs that now fascinate us with their juxtaposition of the familiar and the strange. Yet often they do not quite carry the same emotional charge as random shots. Many Twentieth Century photographers, in this and other countries, have done what sketchers and engravers of street-scenes did before them: they have picked out distinctive street-people – traders, beggars, down-and-outs, well-known local characters – as representative figures. Yet the very fact of being singled out makes these people subtly special.

It is the completely incidental figure, often apparently unaware of the camera, in a picture otherwise taken as a streetscape, that stirs in me the feeling that I really am being offered a brief entry into the past. The blessed Colin O’Brien’s views of Clerkenwell and Hackney in the later decades of the twentieth century are occasionally of this kind. So too are some of the East End scenes of John Claridge, though much of the dereliction he recorded is essentially unpeopled. In just a few shots – a lone man in a mackintosh riding a bicycle though a waste-land, a gaunt-faced workman in a suit looking round warily from his work in a yard – I get the eerie sense of being close to a vanished individual’s reality.

And this is true of the celebrated earliest street photo of all, which was taken by Louis Daguerre from a high window of a Paris boulevard in 1838. The camera’s shutter had to open for a long exposure which renders passing carriages and pedestrians as only faint blurs. Yet clearly visible is one man, because he was standing still to have his boots cleaned. He was the first person ever to be photographed. He did not know it. And we have no idea who he was.

Accident at the junction of Clerkenwell Rd and Farringdon Rd, 1957. Photo by Colin O’Brien

E16, 1982. “He’s going home to his dinner.” Photo by John Claridge

Gillian Tindall’s latest book The Pulse Glass & The Beat of Other Hearts is published by Chatto & Windus

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