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Phillipa Jane Wielgos
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Dr. Joe Rock commented on Phillipa Jane Wielgos's blog post Exhibition: Shadows of War: Roger Fenton's Photographs of the Crimea, 1855 / from 9 November 2018
"I am interested in William (Marcus) Sparling, who accompanied Fenton in the Crimea. Has any good research been carried out on Sparling?  His Theory and Practice of The Photographic Art including its chemistry and optics, with minute…"
Sep 6
Phillipa Jane Wielgos posted blog posts
Aug 29
Geoff Lowe left a comment for Phillipa Jane Wielgos
"This is a long awaited and exceptional world class facility. Why it has taken so long is something of a mystery, perhaps because the art historical establishment in London has always been rooted in the past rather than having an eye on the…"
Jun 18
Phillipa Jane Wielgos commented on Michael Pritchard's blog post V&A reveals opening date and Photography Centre plans
"What an amazing resource.  One looks forward to the opening of V&A Photography Centre on the 12 October 2018 along with the opportunity to view its 2017 acquisition of the RPS Collection."
May 3

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Phillipa Jane Wielgos's Blog

An Interview with the Photojournalist Larry Herman

Q: How do you define your work?

LH: Definitions are not for me to assign any real value to. I think of myself as a portrait photographer. That is to say, I      photograph people in the context of some aspect of their environment. Sometimes I’ll call myself a social documentarian.   And then, frequently,…

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Posted on August 28, 2018 at 4:00

Exhibition: Shadows of War: Roger Fenton's Photographs of the Crimea, 1855 / from 9 November 2018

When Roger Fenton arrived in the Crimea in March 1855 to photograph the war that had been raging for 12 months, the major battles of the campaign had already been fought.  And yet, the images that he captured of exhausted troops and desolate landscapes would become some of the most significant…

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Posted on August 28, 2018 at 3:00 — 1 Comment

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At 12:01 on May 8, 2018, Geoff Lowe said…

This is a long awaited and exceptional world class facility. Why it has taken so long is something of a mystery, perhaps because the art historical establishment in London has always been rooted in the past rather than having an eye on the future.

Gone are the days when 50 years ago I was directed to a few untidy draws in the print room that contained some of the rarest photographic material, which you could handle very casually and without any supervision!

 
 
 

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