Admission free. Donations welcome
Open daily 10:00-18:00. Open late Thursday and Friday until 21:00
Become a Member
Artist associated with 1 portrait
Tell us More
by Peter Johns, for The Guardianmodern bromide print from original negative, 1973NPG x132083
Can you tell us more about this person? Spotted an error, information that is missing (a sitter’s life dates, occupation or family relationships, or a date of portrait for example) or do you know anything that we don't know? If you have information to share please complete the form below.
If you require information from us, please use our Archive enquiry service. If you wish to license an image, please use our Rights and Images service.
Please note that we cannot provide valuations.
We digitise over 8,000 portraits a year and we cannot guarantee being able to digitise images that are not already scheduled.
13 March 2017, 17:36
Peter Johns, 1930-2017
Born in South Wales on 4 October 1930, Peter Johns started his career as an illustrator, before turning to photography.
Having studied illustration at Swansea College of Art, he was taken on by The South Wales Evening Post and Herald of Wales, to produce all their editorial and advertising work from 1950-1961.
The gift of a Rolleicord camera, and then a Rolleiflex, from an indulgent aunt revealed his talent for observation and composition and he started working for the same local newspapers as a photographer. Collaborating with a local journalist, Alan Road, Peter produced a series of features on Welsh miners that caught the attention of both The Observer and The Guardian newspapers and in 1965 Peter and his family – wife Valerie and daughters Susie and Lisa – relocated to London where he became one of three full-time staff photographers on The Guardian.
Peter Johns was part of the new wave of British photojournalists including Ian Berry, Philip Jones-Griffiths, David Hurn and Don McCullin. His work for The Guardian encompassed all areas of photojournalism. He handled coverage of news events – marches, demonstrations, elections and strikes – and in-depth features including drug addiction, poverty and homelessness, all with great sensitivity. Of particular note is his series on the Aberfan disaster and its aftermath. In between major events, however, he always contrived to cover anything to do with the arts, music and theatre and produced some stunning portraits of figures such as Anthony Quinn, Sam Wanamaker, Tennessee Williams, Meryl Streep, Max Wall, John Osborne, Rudolph Nureyev, and many others, his personal favourite being Henri Cartier-Bresson.
Peter always worked in black and white using Leica, Pentax and Minolta cameras, and made his own prints. During his time at The Guardian he also taught an evening class in photography at a local adult education college, took production photographs at Greenwich Theatre, for front-of-house display, and contributed to a number of exhibitions including Four Artists and a Photographer, South London Art Gallery (1973), and Peter Johns Photographs, Greenwich Theatre Gallery (1979) and Woodlands Art Gallery, London (1980). His work has also been shown at The Photographers Gallery London, and The Photogallery St Leonards on Sea.
In 1981 Peter and his wife and younger daughter moved to Portugal, to the quiet Algarve countryside, where they set up and ran a photography workshop and a small country restaurant with a gallery space, and he continued working as a freelance, contributing to The Guardian and The Independent.
They returned to the UK in 2000, settling in Hastings Old Town where he began to concentrate on documentary and landscape work, including, for the first time, some
colour material, and exhibited his new work at Rye Art Gallery in 2002, then had a retrospective exhibition at Whitstable Museum & Gallery in 2004, and a retrospective at The Guardian, King’s Place. In 2006 he donated his archive to the Scott Trust Foundation.
Peter and Valerie were together for over 60 years; she died in the summer of 2014 and Peter never really recovered from this loss. He died peacefully in his sleep in the early hours of 11 March 2017.
Of his work, Peter said:
“The camera is essentially a notebook for recording instances in time and space, but above all for recording life as it presents itself. Photographing people, places, events – anything – must, for my part, be done without being contrived.”
10 October 2016, 10:14
Born 1930, staff photographer for The Guardian from 1965 to 1981.
There are occasions when we are unsure of the identity of a sitter or artist, their life dates, occupation or have not recorded their family relationships. Sometimes we have not recorded the date of a portrait. Do you have specialist knowledge or a particular interest about any aspect of the portrait or sitter or artist that you can share with us? We would welcome any information that adds to and enhances our information and understanding about a particular portrait, sitter or artist.
How do you know this? Please could you let us know your source of information.
The National Portrait Gallery will NOT use your information to contact you or store for any other purpose than to investigate or display your contribution. By ticking permission to publish you are indicating your agreement for your contribution to be shown on this collection item page. Please note your email address will not be displayed on the page nor will it be used for any marketing material or promotion of any kind.
Please ensure your comments are relevant and appropriate. Your contributions must be polite and with no intention of causing trouble. All contributions are moderated.
If you tick permission to publish your name will appear above your contribution on our website.
Contributions are moderated. We'll need your email address so that we can follow up on the information provided and contact you to let you know when your contribution has been published.
National Portrait Gallery, St Martin's Place, London, WC2H 0HE
Switchboard: +44 (0) 20 7306 0055