This year’s Taylor Wessing Photographic Portrait Prize illuminates the variety of human life for its visitors. From familial subjects such as babies and students, to press and reportage images of celebrities and soldiers, the exhibition uses variety in portraiture to explore the concept of our individuality as human beings in the twenty-first century.

Erika E., Born in 1910, by Karsten Thormaehlen, is part of a series of portraits of people who have reached the age of 100 and do not suffer from an age-related illness. The striking and crisp detail of Erika’s portrait highlights her age and suggests her wisdom. In contrast to Erica E is The Shepherdess, by David Stewart. A light-hearted piece, it shows a group of male teenagers surrounding their monthly hairdresser, and friend Luisa, as she sheers the locks of another ‘Bin Bag Salon’ client (named as such because a bin bag is used to catch the chopped hair).

Each photograph acts as a window onto a new world, revealing unknown environments and unusual people. Portrait in Floodwaters, by Gideon Mendel, was particularly striking. It is a photograph that initially seems to be exploring the visual beauty of reflections through colour and water. On closer examination however, the subject of the picture becomes apparent; a scene of poverty in which the young boy photographed is left to fight for his life after terrible floods ruin his home.

I enjoyed the exhibition’s diverse range of subject matter and the atmosphere that each photograph created. No matter what the subject, the technical ability of these chosen photographers remains outstanding; the light, colour, texture, and composition is captured and organised to complement the subject.

The exhibition delivers on so many levels; where else can you see giantic, but ultimately intimate portraits of Keira Knightly and Peter Crouch? And I have not even mentioned the prize-winning portraits…

Until Feb 12

SOPHIE CLAMP