Len Wesney, photographer (1946–2017)

Len Wesney, photographer (1946–2017)

Athol McCredie, Curator Photography, reflects on the life of New Zealand photographer Len Wesney.

I was stunned and saddened to learn that Christchurch photographer Len Wesney died tragically in a house fire on 14 August 2017. I spent nearly a day with him in February this year and had planned a return visit soon.

Len Wesney, Piha workshop
Laurie Ashby. Len Wesney, Piha workshop, 1976. Gelatin silver print. Te Papa (O.044191)

Wesney was born in 1946 in Invercargill and was a member of the Southland Photographic Society as a teenager. He shifted to Christchurch to spend a year studying painting at the Canterbury School of Fine Arts (photography wasn’t offered at this time), and then to the UK where he studied photography at the Guildford School of Art 1966–1967.

He was quickly spotted as a talent on the London scene following a solo show at the Qantas Galleries in early 1968. A writer for Amateur Photographer magazine noted that:

Wesney is 21 years of age, but his pictures impressed me with a force belying this. His appreciation of pure light continually drummed into my mind and suddenly the thought struck me that here was a man who was starting off from the platform already so painstakingly constructed by greats such as Bill Brandt, Brassaï, and Man Ray. …So firmly did this thought stick that in the end I was moved to contact Bill Brandt and suggest that he and Len Wesney should meet.

The conversation between the 63-year-old Brandt – the senior figure of British photography – and Wesney was recorded over four pages of Amateur Photographer, illustrated with the younger photographer’s work.

Liverpool, England
Len Wesney. Liverpool, England, 1968. Gelatin silver print. Te Papa. (O.028077)

Though Brandt claimed there was more of the influence of Brassaï in Wesney’s work, it is not hard to see Brandt’s own photographs of grim industrial towns in Britain in images like Wesney’s one above.

Another magazine responded to the Qantas Gallery show by publishing a page titled ‘young contemporary’ where Wesney explained that, although he never regretted his time at Canterbury, he failed his ‘history of art examination anyway for a better cause by far’. Clearly Wesney was a strong believer in the expressive potential of photography, for he went on to say that, ‘When photography means so much to me it will be difficult in the future to apply it professionally. But it makes hard living worthwhile.’

Wesney did pursue his personal vision following Guildford and was successful in seeing his work featured in prestigious publications such as Creative Camera, Photography Year Book, the British Journal of Photography Annual, and Single Lens Reflex Photography Yearbook between 1968 and 1970. But he also had to earn a living and was prepared to compromise his high ideals by working as an assistant to photographers Brian Seed and Derek Bayes successively, as well as undertaking freelance magazine work.

On the strength of his professional work overseas Wesney became a photographer with the Christchurch Star on his return to New Zealand in 1970 and stayed with the newspaper until 1982. Though employed to take photographs, it also became an opportunity for his ability as a writer to shine, for he wrote a monthly column on contemporary photography during 1975 and 1976. These included discussions of the work of Laurence Aberhart, Rachael Feather, John B Turner, Keith Nicholson, Murray Hedwig, Larence Shustak, and Heather Forbes, people whom he chose simply because their work interested him.

He also wrote reviews of photography books and exhibitions as well as addressing general photographic topics with titles like ‘More than just a record’ and ‘Photographing people not the easiest of tasks’. This series of intelligent and in-depth pieces on photography must be unique in the annals of New Zealand newspaper journalism.

On Cook Strait ferry
Len Wesney. On Cook Strait ferry, 1974. Gelatin silver print. Te Papa (O.028080)

Sometimes the general articles were illustrated with Wesney’s own photographs. An example is On Cook Strait ferry above, where he described the process of taking the photograph, and castigated himself for being so indecisive as to shoot 23 frames in total, each with a different orientation or framing. (Nine were before the man rolled onto his side to get some relief from the harsh lighting). He noted that the man was completely unaware of being photographed: ‘Even when I had finished, he did not stir from his slumber. I think Her Majesty was more aware of the proceedings’.

It’s an image that is typical of one vein of Wesney’s work – a concern with absurd juxtapositions. Someone is simply trying to relieve the tedium of the voyage by taking a nap but Wesney was alert to the contrast in direction of faces: the man to the wall, the Queen looking at us. And the bizarre image of the industrial quality barrier deemed necessary to protect the sovereign.

Another strand of Wesney’s work was high-contrast images of bleak New Zealand landscapes, as if he had brought Bill Brandt’s eye to New Zealand – though, to be fair, this was a style of photography generally prevailing in the sorts of British publications mentioned above.

Near Naseby, Otago
Len Wesney. Near Naseby, Otago, 1975. Gelatin silver print. Te Papa (O.028081)

Wesney continued his personal work during the 1970s and a small amount was printed in PhotoForum magazine in four issues between 1974 and 1977 and in the 1975 touring Active Eye exhibition. His only solo exhibition in this country wasn’t until 2004 at McNamara Gallery in Wanganui where a selection of his photographs from 1967 to 1975 was shown.

Some of this work is now held by Te Papa and I used a small reproduction of Plaster hand in my book New Zealand photography collected to sheet home a point that the photographs for the book had ‘all been chosen because they raise questions rather than illustrate things already known’. In a way, the photograph was a touchstone for the book.

Plaster hand, children's play centre, Christchurch
Len Wesney. Plaster hand, children’s play centre, Christchurch, 1972. Gelatin silver print. Te Papa (O.028079)

I first met Len in 2011, following the second Canterbury earthquake. His living room floor was strewn with the contents of a bookcase. He was very shaken by the quakes and, like some others, felt so defeated he didn’t think it worth clearing up yet again. He was, however, galvanised into photographing the damage around the city and this became a major pre-occupation for the following years.

When I visited Len earlier this year he was still living on the smell of an oil rag. We spent a lot of time discussing how to preserve his digital quake photographs when he had no computer nor much knowledge of current technology (though he was a whiz at inventing pictograms from basic characters when texting). Then, near the end of the day he agreed to show me what I had really come to see, his 1970s photographs he’d kept carefully stored in plastic folders under the bed.

There were many I had never seen before and the quality and depth of this work amazed me and changed my view of him as the maker of a handful of brilliant images to someone whose achievement was much more substantial.

However, Len was not only reluctant to show them, but also to part with any. So I left hoping that he might reconsider, and that next time I visited he would let me acquire some for Te Papa. Now it sadly seems likely they were destroyed in the fire that consumed his house and took his life.

Haere rā Len. Rest in peace.


  1. Please note that Shustak called himself Larence, not Laurence, when he moved to New Zealand.

    1. Author

      Thanks for that Stuart. I did know, but slipped up. Have corrected.

  2. Your obituary of Len is very moving Athol, and much appreciated by his friends and fellow students from his time at Guildford School of Art. He was one of the most talented students of our year. We shared a student flat during our first and became good friends. We lost touch over the years, however when I went to visit my son living in Christchurch in 2015 I contacted him. It was difficult to get hold of him initially, so on the advice of a mutual friend I turned up on his doorstep! It was good advice, as we met up quite a few times, and enjoyed each other’s company. It was really good to see him again after such a long gap. We had lots of conversations about photography and our time at GSA. He was very generous with his time and took me to various places in and around Christchurch. He showed me a lot of the work he was doing documenting the damage of the earthquake, and talked about how it affected him. I was looking forward to seeing him again on another visit, and am very sad that is not to be. However I am glad to hear his negatives and prints havnt suffered too much damage. I think he told me his recent digital photos were on a memory card, which he kept in his camera, and I’m wondering if this was found and if the images are ok?
    We are organising an exhibition of previous students work at Guildford House Gallery to open this May, and we would very much like to include some of Len’s work. The exhibition is to mark the 50th anniversary of the sit in at GSA. Title: Finding our Voice: Guildford School of Art Sit in 1968. There will also be an exhibition by John Walmsley at Guildford Museum, who documented the Sit in. Athol I’d very much appreciate it if you could contact me and let me know the situation and if this might be a possibility.
    Many thanks Cordelia

  3. Thank you Athol for your touching and thoughtful tribute to our brother Len. As you may imagine it was most difficult for us to search through the ruins of his house, but to find and retrieve some of the work that was of the most importance to him, helped us greatly in our time of loss.
    It is comforting to know that he contributed so much to life through his his art and photography.

  4. Author

    Postscript: It is now emerging that many of Len’s 1960s and 70s prints and negatives were stored under the bed and escaped the flames, though their folders are covered in smoke residue. They are being carefully treated to rescue and preserve them at present.

  5. I was very touched by this article, Athol, as it has such a sad ending. I can’t help thinking of McCahon when I look at the stunning photograph, Near Naseby, Otago, and wonder if Len had a connection with the painter?

  6. Thanks Athol, a lovely and interesting article.

    I consider myself a friend of Lens. In 2015 Chris and I worked tirelessly repairing the cottage next door to Lens. He was incredibly curious in our activities and on good days would share a cup of tea with us, generally asking questions rather than answering them. On only the one occasion did he invite us into his home; we spoke of his time in England and about his family and the influence the 2010/11 earthquakes had on him. Len retrieved the NZ photography book from his shelf and showed us proudly his photos in the publication. He was such a private and humble man. Some months earlier Len gave me a brown sushi bag tied with a flax and said this was a gift to be opened later on. It contained half a dozen photos of us working on the house and burning rotten weatherboards in the back yard. Never did i see him with a camera and could not fathom how he managed to get the shots from such an angle without us noticing. I feel I underestimated how special these pictures were. I will find the photos and happily pass them on to Te Papa should they be of interest.

    Go easy Len,
    Ben, Chin & Lu

  7. What a tragedy that Len’s life should end like that and that much of his work be destroyed as suddenly. Sad.

  8. I never knew Len, but there’s every chance our paths crossed over the past few years, so thanks for writing this and making me more aware of his life and work!

    Such a tragic loss in so many ways!

  9. Thank you, interesting and touching.

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