newppsa

I recently learnt of the passing away of Struan Robertson in Vancouver, Canada,
where he had been living since leaving South Africa sometime in the late 90's. I pay
tribute to Struan as a much admired photographer by his peers in the industry and
as a fondly remembered friend and guiding influence to many aspiring
photographers of that time. Struan Robertson was an Honorary Fellow of the PPSA.
He was also awarded a Fellowship in Photojournalism by the British Institute of
Professional Photography in 1993
The era of the 1980's a golden time for photography when camaraderie amongst
most professional photographers was very rewarding. "Pro" photographers met
up with each other on a daily basis while delivering or collecting their daily
photographic results at processing laboratories. There was always a little time to
chat about the photographic scene. We also enjoyed early evening social
gatherings at Beith Lab's friendly in-house watering hole discussing photography
or recounting experiences with clients, shoots or intense equipment debates,
such as which was the best flash system, Balcar, Elincron or Bron?
I clearly remember Struan's detached interest in electronic flash equipment during
these discussions. I do not remember ever seeing images shot by Struan using
studio lighting. Struan's haunting photo essays of harsh township life were mostly
captured in black and white using available light. He travelled extensively for four
years with Ina Perlman of Operation Hunger documenting their feeding scheme
actions in the townships around the country for a book, titled "The Cold Choice"
While I was browsing through the PPSA's archive of PROFOTO magazines from that
time in history in search of a picture of Struan to accompany this tribute, I came
across an article in the May 1993 issue written by Struan, titled "Seize the Moment"
in which his final statement in the article was his philosophy on photography,
"Disciplined seeing, perfect timing, intuitive understanding: these are the key to
great photographs. It is these attributes that make photography a unique medium,
completely unlike any other graphic art: a compelling powerful record of the times
we live in"
Being on the Bensusan Photographic Advisory Committee I am happy to report that
we have been planning an exhibition of Struan's Sophiatown images for the past
few months. We recently viewed the collection of his historical memories of
Sophiatown shot prior to demolition of the suburb by the previous government.
Struan's immaculately hand-printed, mounted and captioned images are an
arresting and emotive tribute to that saddest of times in history. Struan wisely
donated these historic images to the Bensusan Photographic Museum. The
Sophiatown images are only a small part of the extensive collection he donated to
the museum prior to his departure from South Africa. Struan would be happy to
know that his emotion provoking images are stored in optimal archival conditions
for future generations to access and appreciate.
Dear Struan, you will always be remembered by the legacy you left.
Rest in Peace.
Dee Worman APPSA Hon FPPSA

Struan Robertson was born in London on the 30th of March 1927, and moved to
Vancouver Canada in 1939 with his mother and sister Anne to avoid the escalating
conflict in Europe. He trained as a draftsman and worked in and around Vancouver. He
married Elizabeth Brock in 1952 and they moved to South Africa in 1954.

After working as a draftsman in South Africa and Northern Rhodesia he became a
professional photographer and writer in Johannesburg in 1958. He started in
newspaper photography in 1960 as a part-time assistant to Jurgen Schadeberg on the
Johannesburg Sunday Times. He worked for The Rand Daily Mail and the Sunday
Express and then went freelance working for most of the major South African
newspapers and magazines as well as some international publications via Black Star
and Magnum photo-agencies. He had a long association with the Anglo American
magazine Optima, and shared a studio with the photojournalist John Brett Cohen.

He held many exhibitions of his work including two for the Black Sash: 'Who Cares?'
and 'Death of Sophiatown', as well as several for the Market Photo Gallery. Struan was
a contributor to the West German exhibition of South African photography and poetry
'Nichts Wird Uns Trennen' (1983) and to Bill Brandt's 'The Land' exhibition in London in
1972. A print from this exhibition is on permanent display at the Victoria and Albert
museum. He was one of six photographers chosen to participate in the first
exhibition of photography as art ever held at the South African National Gallery in Cape
Town. In 1991 Struan's book of writing and photographs The Cold Choice was
published; it reflected rural poverty, and detailed the tireless humanitarian work
carried out by the charity Operation Hunger under Ina Perlman. Struan also taught
photography to a variety of young, up-and-coming photographers in the late 80s and
through the 90s. He was a Fellow of both the British Institute of Professional
Photographers and the South African Institute of Professional Photographers. Struan
left South Africa in 2000 after his separation from Elizabeth and returned to Vancouver
where he concentrated on his writing, and continued to correspond with his
numerous associates, friends and colleagues. He was reunited with his lifelong
friend Lea Haggert in Vancouver. He was working on several projects at the time of
his death including a retrospective of Ernest Cole, a novel, historical works and
poetry. Struan died in Vancouver on 17th March 2011.

He was generous with his time, helping and encouraging many South African
photographers, including Ernest Cole who became the first black freelance
photojournalist in South Africa. Ernest left South Africa in 1966, having printed many of
his photographs in Struan's studio, to publish his book the House of Bondage,
capturing the repression of apartheid. He dedicated the book to Struan. I worked as
Struan's assistant in 1968/9 and went on to have a lifetime as a professional
photographer largely due to Struan's huge support and encouragement for which I
will be eternally grateful.

Struan was a committed liberal thinker and a tireless documenter of South African
life. He leaves behind a detailed record of not only the turmoil and change in South
Africa during the second half of the 20th century, but also the beauty of its spectacular
and dramatic landscape, which he loved. His work is now housed in the Cape Town
National Art Gallery and the Bensusan Museum of Photography in Johannesburg.“He
is survived by his wife Lea, his sister Anne, his three children Kate, Helen and Alex,
seven grandchildren and three great grandchildren.”

Geoff Causton
Bristol 2011