‘I follow my plan through to what may be a dead end or to success…’ Such was the description used by photographer Irving Penn to partially highlight his working process. Printed on an introductory label at the exhibition of his work currently on display at the National Portrait Gallery, the all-or-nothing approach to production suggested in Penn’s description is particularly apt, as the exhibition ultimately misses the mark. A ‘dead end’ indeed, the layout is somewhat simplistic, with the photographs displayed in an uninspiring chronological manner. Whilst this arrangement highlights the subtle developments that occurred in the photographer’s craft, showcasing a move from full-body portraits to expressive close-ups, the atmosphere generated seems unable to support any prolonged excitement or reflective admiration.

It lacks wow-factor, and despite the photographer’s avid interest in delving beyond the ‘facade’, the small collection and basic progression between portraits seems superficial and easy to glaze through. Even after a concerted effort to linger, surrounded by powerful chiaroscuro photographs, the exhibition took me a maximum of 35 minutes to traverse. At a student entry price of £8 (reduced from £11), which is more than a typical student may earn in a full working hour, I left feeling a little unfulfilled.

This isn’t to say that the photographs presented aren’t extremely crisp and potent specimens, often arranged in particularly captivating juxtapositions: the closely aligned photographs of Georgia O’Keefe (1948) and The Duchess of Windsor (1948) provide an especially compelling conflict of personalities. But the exhibition seems to have been an afterthought rather than an evolution. Whilst a chance to see various celebrated historical figures in revealing, high quality photographs, it is disappointingly limited through a generic approach to display. At the same time, it is expensive for what it is, and in all honesty would have served better as a picture book.Until Jun 6

SAM LAKE