Kurt Hutton: A Trailblazer in British Photojournalism
The year 1934 marked a turning point for British photography. As Adolf Hitler’s regime tightened its grip on Germany and restricted press freedom, a wave of talented photographers fled to London, bringing with them a bold and modern approach to visual storytelling. Among this exodus was Kurt Hübschmann, a seasoned German photographer who would reinvent himself as Kurt Hutton. His story is one of transformation, artistic innovation, and an enduring influence on the development of British photojournalism.
Early Life and Education: From Law to Photography
Kurt Hübschmann was born in 1893 in Strasbourg, then part of the German Empire. His early life was shaped by his parents' aspirations for him to enter the legal profession. In 1911, he was sent to study law at the University of Oxford, a prestigious opportunity that few could afford. Yet Kurt soon discovered that legal studies did little to satisfy his creative inclinations. The outbreak of the First World War in 1914 interrupted his education, and like many young men of his generation, Kurt joined the military. He served as an officer in the German cavalry, and it was during this period that he first encountered photography.
The war, with its unimaginable destruction, became a crucible for Kurt’s artistic sensibilities. While still an amateur, his early experiments in photography revealed a natural talent for capturing life with precision and empathy. After the war, Kurt returned to Germany, where he explored photography more seriously. In 1923, he took lessons in portrait photography and opened a studio in Berlin with his wife. Together, they established a reputation for high-quality work, capturing the faces and lives of Berlin’s vibrant interwar society.
Breakthrough in Germany: The Guttmann Agency and Stefan Lorant
In 1929, Kurt’s growing reputation led him to work for Simon Guttmann’s Deutsche Photodienst agency, a leading source for visual content in Germany. His talent caught the attention of Stefan Lorant, one of the most influential editors of the era. Lorant, then the Editor-in-Chief of Münchner Illustrierte Presse (Munich Illustrated Press), was renowned for pioneering the modern illustrated magazine. Under Lorant’s mentorship, Kurt honed his skills in photojournalism, moving beyond studio portraiture to capture dynamic and candid moments in everyday life.
Lorant’s editorial approach was transformative. He believed in the power of photography to tell stories, and Kurt’s work epitomised this philosophy. While other photographers of the time focused on formal or staged images, Kurt adopted a more spontaneous and naturalistic style. His ability to find humour, humanity, and dignity in his subjects became a hallmark of his work.
Escape to England: Reinventing Photojournalism
In 1933, Stefan Lorant was arrested by the Nazis for his outspoken defence of press freedom. Although released the following year, Lorant recognised that Germany was no longer safe for those who opposed the regime. He fled to England in 1934, determined to reshape British photojournalism. Kurt followed him later that year, having decided to leave Germany after photographing Wimbledon. The rise of anti-Semitism and the Nazis’ stranglehold on the press made it impossible for Kurt, who had Jewish ancestry, to remain in his homeland.
Upon arriving in London, Kurt changed his surname to Hutton to better integrate into British society. He joined forces with Lorant on publications such as Weekly Illustrated, Lilliput, and, most famously, Picture Post. These magazines embraced a new approach to photojournalism, focusing on the lives of ordinary people rather than just politicians, celebrities, and royalty.
Capturing the Human Spirit: A Style Like No Other
Kurt Hutton’s photography stood out for its ability to convey the humanity of his subjects. He was as comfortable photographing East End dockworkers as he was capturing portraits of Winston Churchill, Alfred Hitchcock, or Ingrid Bergman. His work was characterised by a natural, unposed style that allowed the personality of his subjects to shine through. Unlike many of his contemporaries, Kurt favoured the 35mm Leica camera, which was light, discreet, and perfect for capturing candid moments.
One of Kurt’s most famous images, taken in 1938, shows young women screaming with delight as they ride a rollercoaster. This photograph epitomises his ability to freeze moments of unguarded emotion, combining spontaneity with technical skill. His series documenting George Orwell’s The Road to Wigan Pier in 1939 offers a stark and poignant visual account of working-class life in northern England, complementing Orwell’s searing prose.
Picture Post and the Golden Age of Photojournalism
Under Stefan Lorant’s leadership, Picture Post became a defining publication of the 1930s and 1940s. Its mission was to democratise photography, presenting the lives of ordinary people with the same care and attention usually reserved for the elite. Kurt Hutton’s work was at the heart of this ethos, and his images often dominated the magazine’s pages. At its peak, Picture Post reached millions of readers and set new standards for photojournalism.
A notable editorial response to criticism of the magazine encapsulated its philosophy: “Picture Post firmly believes in the ordinary man and woman, thinks they have had no fair share in picture journalism, believes their faces are more striking, their lives and doings more full of interest than those of the people whose faces and activities cram the ordinary picture papers.”
War and Internment
The outbreak of the Second World War brought challenges for émigré photographers like Kurt. Anti-German sentiment swept through Britain, and many foreign nationals were interned as "enemy aliens," regardless of their political views. In 1939, Kurt and Felix Man were sent to the Isle of Man, where they were held in an internment camp. Their cameras were confiscated, depriving Picture Post of two of its most talented contributors. Despite the harsh conditions, Kurt continued to take photographs when he could, even documenting life within the camp.
Kurt was released in 1941 and returned to London to rebuild his career. However, the war had disrupted the established order of photojournalism, allowing British photographers like Bert Hardy to emerge as new stars. Even so, Kurt’s post-war work retained its characteristic sensitivity and insight.
Legacy and Final Years
Kurt Hutton’s influence on British photography cannot be overstated. His naturalistic style set a benchmark for a generation of photographers, and his images remain a vital record of mid-20th-century life. Grace Robertson, a celebrated photojournalist of the 1950s, recalled her teacher using Kurt’s work as the gold standard, famously exclaiming, “Kurt Hutton would never have taken pictures like these!” when critiquing student work.
In his later years, Kurt retired to the coastal town of Aldeburgh, where he befriended composer Benjamin Britten. His final photographic series documented Britten’s private life, offering a rare glimpse into the world of one of Britain’s greatest musicians. It was a fitting conclusion to a career defined by intimacy and humanity.
Kurt Hutton passed away in 1960, leaving behind a body of work that continues to inspire. His photographs, whether of rollercoaster riders, wartime Londoners, or cultural icons, remind us of the beauty and resilience of the human spirit. Today, his contributions to photojournalism are celebrated as a testament to the power of storytelling through the lens.