The V&A Museum's Photography Centre is partially closed as a new exhibition is installed. Galleries 100 and 101 are closed while a new survey exhibition looking at American photography from its origins to today is installed. They are due to re-open on 15 June 2025. The remainer of the Centre's galleries - the library and contemporary spaces - remain open. 

Francesca Issatt, has been appointed to the role of Curator of Photography and Photographic Technology at the National Science and Media Museum. The role is a one year maternity cover for Ruth Quinn who was appointed in 2022, and the position was previously held by Colin Harding. It was advertised earlier this year. 

Francesca recently completed her PhD titled Women and Architectural Photography in Britain, 1920-1939 with Birkbeck College, University of London and the Victoria and Albert Museum. She holds an MA in Photographic History from De Montfort University (2013-14) where she gained a distinction. Previously Francesca has held archival digitisation roles at the Universities of Cambridge, Oxford and Leeds (2014-2020), and with the Herbert Art Gallery and Museum which also included curatorial training. She was curatorial intern for three months in 2020 at the V&A Museum prior to starting her PhD ithe same year.  She completed a BA in Photography at Solent University in 2012. 

Her research interests include architectural photography, women photographers, photographic societies, and tourist photographs.

Auction house Lawrences of Crewkerne has an interesting group of fourteen portraits, described as daguerreotypes (*), on offer on the 11 June 2025. All portraits, they show members of the Clayfield-Ireland Family of Brislington, Bristol. They include James Ireland Clayfield-Ireland aged 54, his wife Letitia and twelve of their children. Some of the photographs bear labels of Mr. Callaway, Proprietor of 'The Old Established Photographic Institution' 33, Broad Quay, Bristol where he was in business from 1859-1864. All are contained in the original leather and velvet box. The lot is estimated at £300-500. 

The Clayfield-Irelands were the main landowners in the village of Brislington (now a suburb of Bristol) from the 1770s - 1920s and lived at Brislington Hall which was demolished in 1933. 

The photographers Cartwright and Callaway are both listed in the Heathcote's A Faithfull Likeness.

The Eye of Photography carries a report from François Kirkland noting the passing of Michael Rand who has just died aged 96 years.  Rand was the Art Director and Managing Editor of the Sunday Times Magazine 30 years from 1962. 

See more here

Registration is now open for a one-day, in-person research workshop concerning the landmark British photo-magazine, Picture Post (1938-57). Picture Post was launched in the era of the Spanish Civil War and the Popular Front. Conceived for Hulton Press by Stefan Lorant (a Hungarian editor exiled from Nazi Germany), Picture Post had a transnational staff and a global outlook. It was the leading British example of an international phenomenon – the birth of photojournalism and the photo-essay. The equivalent of Life in the US and Paris-Match in France, the magazine achieved circulation figures of 1.7 million.

To mark the opening of a major exhibition at Amgueddfa Cymru – National Museum Cardiff, we are hosting a research workshop bringing together an international cohort of researchers, curators, archivists and librarians to discuss the development and impact of Picture Post.

The workshop is co-hosted by the Tom Hopkinson Centre for Media History (School of Journalism, Media & Culture, Cardiff University) and Amgueddfa Cymru - Museum Wales. It is organised by Dr Tom Allbeson (Reader in Media & Photographic History, Cardiff University) and Dr Bronwen Colquhoun (Senior Curator of Photography, Amgueddfa Cymru - Museum Wales). 

Picture Post (1938-57): Genesis, History & Legacy of a Photo-Magazine
Cardiff, School of Journalism, Media and Culture, Cardiff University,
Two Central Square, Cardiff, CF10 1FS, UK
13 June 2025, 0900- 1730
Free, In person
See the full programme and register here

Fondazione Alinari per la Fotografia in partnership with the Marubi National Museum of Photography, with the support of Istituto Italiano di Cultura di Tirana and the Ministry of Economy, Culture and Innovation of Albania is pleased to announce the Call for Papers "The Impact of Italian Photographers in the Mediterranean Countries during the 19th Century", for the upcoming conference focused on the influence of Italian photographers in Mediterranean countries during the 19th century.

The event will be held at the Marubi National Museum of Photography in Shkodër, Albania, on 17-18 October 2025.

This conference will explore the significant impact of Italian photographers who not only traveled across the Mediterranean but also established photographic studios and professional practices that endured in the region. Their work played a crucial role in shaping local photographic traditions, artistic sensibilities, and documentary practices.

Abstract Submission Deadline: 15 June 2025

Download the call for papers and discover more here

Marking the culmination of a £6.8 million transformation, the National Science and Media Museum’s Sound and Vision galleries – spanning two floors – showcase world class collections of photography, film, television, animation, video game and sound technologies. Following on from the museum’s 18-month closure and partial reopening in January 2025, the Sound and Vision galleries will welcome their first visitors on 10 July. 

Thanks to a transformational gift from The National Lottery Heritage Fund – made possible by money raised by National Lottery players, the new galleries feature over 500 exhibits, a new art commission and a range of multi-media content. Designed by award-winning AOC architecture, the galleries mark the completion of the Sound and Vision project and they explore globally significant stories of technological innovation and social change.

The displays have been created in collaboration with key audiences and community groups, ensuring that they resonate with a range of visitors. 

In the first section, ‘Innovation’, visitors encounter some of the earliest examples of photographic, film and sound technologies and Europe’s first IMAX projector, first installed in the museum in 1983, providing a gateway into the evolution of visual technologies.  From William Henry Fox Talbot’s earliest photographic negatives to Louis Le Prince’s single lens cine camera – a world first which captured moving film footage in Leeds – visitors can explore the origins of media technologies.  Other highlights include the camera used by Herbert Ponting to document Scott’s Antarctic Expedition in 1910 and John Logie Baird’s groundbreaking ‘television apparatus’ from 1926. These pioneers found new ways to explore and share our world through the media technologies they developed, just as creators and inventors continue to do so today. 

The ‘Identities’ section explores the countless ways that media technologies help us express who we are. Tracing the development of photography from early portrait studios to the first popular cameras and the ongoing development of digital imagery, photographic technologies have given millions of people the opportunity to capture their lives. This gallery also tells the story of home-made gadgets and communities that bring people together through tech.  In Gig Zone, visitors can explore the ways in which media technologies have enhanced our shared experience of live music, showcasing a mixing desk used by The Prodigy and the iconic Marshall amplifier stack. 

As well as telling our own stories, sound and vision technologies enable us to create rich, imagined worlds. The ‘Storytelling’ section of the galleries takes visitors on a journey through visual effects workshops, the sound worlds of Doctor Who via the Radiophonic Workshop, and the meticulous, technical work of some of the world’s leading animation studios. Iconic horror film props are brought to life in an evocative display featuring Dracula’s fangs as worn by Christopher Lee and a model of the eponymous Alien head and torso from the 1979 film. 

Stories can be entertaining, but media technologies have also been used to trick and manipulate and the displays challenge visitors to think about what they can and can’t trust as they navigate them. At the intersection of entertainment and manipulation, the museum’s prized Cottingley Fairies cameras and photographs take centre stage in a special interactive installation. 

Today’s museum visitors are used to sound and vision technologies being ever-present and the ‘Everywhere’ section asks how we got here and how media technologies have changed society. At the heart of the gallery is a newly commissioned artwork supported by Art Fund, ‘Circus’ by Nayan Kulkarni. In this playful experience, visitors move around a room of ‘digital mirrors’ - momentarily becoming part of the museum’s displays, highlighting our role in modern media technologies as both subject and creator. ‘Circus’ sees a double height space opened up between the galleries on levels 3 and 5 and by linking the two floors vertically through this central installation, Kulkarni’s work invites visitors to experience the gallery as one connected, dynamic space. 

Visual media have been used across the world to share stories with and for communities – be it through travelling magic lantern displays in the 18th century right up to the present day with community shadow puppet shows. Radio has been a popular tool for the dissemination of national messages as well as amongst grassroots communities and this section of the galleries explores the rich tradition of commentary by the people for the people, with an authentic – and interactive – recreation of Bradford Community Broadcasting’s radio studio.  

The Sound and Vision galleries have been shaped by the voices of people from Bradford and beyond. Through extensive collaboration, local communities have helped to influence not only which stories are told in the new galleries, but how. The museum’s Youth Forum and Access Panel played a key role in shaping the space, offering fresh perspectives and encouraging the museum to think differently about how to present star objects and stories from their collections to make them accessible and engaging to all.  

Partners such as Allstar and BCB Radio have brought vital local perspectives to the galleries, reflecting the creativity and diversity of Bradford’s cultural scene whilst creating narratives that are relatable to people both from the district and those visiting. Individual contributors such as Paul Seal, a disabled gamer who developed a gaming setup that enabled him to continue to play through adapted technology, also shared personal insights that bring depth and authenticity to the galleries, highlighting how innovation in media technology can empower individuals. Collaboration with the Marshall Factory, a renowned name in sound technology, further added industry insight and national perspective to the galleries. Together, these contributions have helped make the galleries more inclusive, and representative of both local communities and wider society. 

Marking a new era and launching during a momentous year for Bradford, these object rich and interactive gallery spaces confirm the museum’s position as a national museum rooted in its community. As well as spotlighting hundreds of previously unseen exhibits, visitors who know the venue well will sense echoes of the museum’s past, with a Dalek greeting them on Level 5, a delightful new exhibit on loan from Aardman animation studios and charming film footage of the magic flying carpet, captured by the legendary Bradford Movie Makers. 

The Sound and Vision Project is generously supported by The National Lottery Heritage Fund thanks to money raised by National Lottery players (Lead Supporter), Bradford 2025 UK City of Culture (Major Supporter), City of Bradford Metropolitan District Council (Associate Funder), DCMS/Wolfson Museums and Galleries Improvement Fund (Associate Funder), Art Fund, David Family Foundation, Sovereign Health Care, Spectacle Makers Charity and Shenward LLP.

Jo Quinton-Tulloch, Director of the National Science and Media Museum commented: “We are thrilled to be launching our new permanent Sound and Vision galleries this summer. They have been a true labour of love and collaboration, and they showcase our incredible collections in new and innovative ways. Our collections and the rich narratives they tell touch upon all our lives, from the first photographic negative and film footage to the advent of radio and television, and the power of sound technologies to bring us together. Our Sound and Vision galleries showcase how everyday objects have the power to be extraordinary.  

We have worked closely with a huge range of people to develop the galleries, ensuring these spaces work for everyone and that our visitors feel represented in the stories we tell. Consultation with our local communities has been central in the development of Sound and Vision and it feels especially significant to launch the galleries during Bradford’s year as UK City of Culture. We hope the galleries will be a key focal point in our city’s momentous year and for a long time to come.  And we are incredibly grateful to the National Lottery Heritage Fund and the support of National Lottery players for making Sound and Vision possible. We can’t wait to welcome visitors to explore our new galleries soon.” 

Helen Featherstone, Director, England, North at The National Lottery Heritage Fund added: “We're incredibly excited that the Sound and Vision galleries at the National Science and Media Museum are going to open soon! Showcasing iconic objects that tell the story behind the photographic, film and sound technologies, that have played such a big role in our lives. In 1995, the museum was one of the first transformational projects in Yorkshire that received National Lottery funding from the Heritage Fund, and after 30 years we're proud to have supported the museum with another transformational grant for these fantastic new galleries." 

The V&A is pleased to announce a new doctoral placement opportunity for the 2025–2026 academic year. As part of our commitment to supporting early-career researchers, the V&A offers a range of doctoral placements designed in collaboration with museum staff. These placements give PhD students the opportunity to contribute to live research projects while gaining practical experience with collections, cataloguing, and exhibition planning.

This placement will support the research and cataloguing of works by 19th-century British photographer Roger Fenton in preparation for a forthcoming touring exhibition and publication. The V&A holds a significant number of Fenton’s photographs, including more than 650 prints in the RPS collection, along with additional works acquired by the South Kensington Museum.

The placement researcher will conduct a comprehensive survey of Fenton’s photographs, contribute to improving catalogue records, and identify previously overlooked aspects of his career. Their work will provide essential research to inform curatorial interpretation and exhibition development.

Possible outcomes; 

• Survey of Roger Fenton’s works in the V&A collection and the RPS
  archives
• Enhanced catalogue entries and updates to Explore the Collection
  (ETC) records
• Scoping report identifying previously overlooked aspects of
  Fenton’s career
• Research support for curators, assisting in the development of an
  object list and key themes for an exhibition and publication

Surveying and Cataloguing Roger Fenton’s Photography Collection
V&A Museum, PhD placement, unpaid
Interviews: 19 June
Closes: 30 May 2025
Possible start dates: w/c 29 September 2025 – 29 October 2025
Details: https://vam.current-vacancies.com/Jobs/Advert/3840794?cid=3279

Kingston Museum has launched a website devoted to the life and achievements of Eadweard Muybridge, along with the opportunity to search the collections of Muybridge's material that it holds. In 1904, Muybridge bequeathed an extensive collection of his life’s work to Kingston Museum making it the largest and most significant Muybridge collection in the world. The website was project managed by Kingston Museum curator Seoyoung Kim. 

See: https://muybridgeinkingston.co.uk/

A collection of extraordinary 19th-century portraits that radically shifts our understanding of the presence and identities of the Black subject in Victorian Britain. These striking studio portraits, curated and brought together following ten years of research championed by Autograph, constitute the most comprehensive collection of 19th-century photography depicting the Black subject in the Victorian era, including some of the earliest known images of Black people photographed in Britain.

We are delighted to advertise a job opportunity at the museum. There is a vacancy for the post of Curatorial Assistant, a position funded by our award from Research England's Higher Education Museums, Galleries, and Collections Fund. The role will help extend our services to external researchers, as well as assist with general duties in the museum. You can find the advert and application for the post of Curatorial Assistant at Grade D here.The deadline for applications is 27th May.

This is a rare opportunity to join the team at the UK's leading cinema museum, based at the University of Exeter. We look forward to hearing from you!

See: https://www.bdcmuseum.org.uk/news/job-opportunity-at-the-bill-douglas-cinema-museum/

The programme has been published and registration open for the Photographic History Research Centere's annual conference, which is themed Photography, Value, History. 

What is the history of photography’s value a history of? Is it a labour and economic history? An institutional history of museum cataloguing systems and art market pressure? A history of the values promoted by photography as a cultural and social activity? A history of photographic conventions, trends and fashions? Recent publications like issue 8 of Photographica in 2024 and the PHRC conference of 2023 “Photography in its Environment”, showed the increasing volume of work dealing in one way or another with photography and value.  

In this PHRC 2025 conference speakers shall use the ambiguity of the term “value” as a starting point to reflect on the intertwined political, social, economic, scientific and historical factors that have shaped the value(s) of photography. They will use of diverse methodological perspectives to critically analyse what has made photography valuable to a variety of stakeholders. 

Papers will focus on topics related, but not limited to themes like: 

• Photographic values and ethics 
• The markets of photography  
• Labour and/or economic histories of photography 
• The value of photography as heritage 
• Value systems in photography collections 
• Photography’s influence on social values 

As in recent previous years, the conference is offered in person and online, allowing speakers and delegates to participate remotely or on site.

Details here: https://photographichistory.wordpress.com/annual-conference-2025/

A groundbreaking new tour tracing the footsteps of legendary 19th-century photographer John Thomson is set to launch this season. This unique journey offers photography enthusiasts, history buffs, and cultural explorers the chance to experience the people, landscapes, and traditions of China as Thomson did during his pioneering travels in the 1860s.

The John Thomson in China – A Photographic History tour takes travelers from the bustling streets of Guangzhou (Canton) to the imperial grandeur of Beijing (Peking), stopping along China’s historic coast to capture both timeless and modern scenes. Known for his remarkable documentation of the Far East, Thomson was one of the first Western photographers to record the diverse cultures of Singapore, Vietnam, Cambodia, and China. His work laid the foundations of travel photography and social reportage, revolutionising the way people understood life across the world.

A Journey Through History and Photography

Led by Deborah Ireland, an esteemed photographic historian and authority on Thomson’s work, the tour offers an immersive, educational experience. Ireland, who has lectured extensively on Thomson and written on the travels of the famous explorer Isabella Bird, will provide in-depth commentary and insights throughout the journey. Participants will visit many of the same sites Thomson documented, with opportunities to compare his 19th-century photographs to the scenes as they exist today.

The tour will engage with local historical societies to give travelers a richer understanding of China’s society, architecture, and everyday life during the late Qing Dynasty — the time Thomson conducted his work. In Beijing and Shanghai, guests will have the opportunity to explore traditional districts, some of which Thomson photographed, and discover the blend of history and modernity that characterises these vibrant cities.

What to Expect on the Tour: 

Guided tours through Guangzhou, Shanghai, and Beijing, revisiting iconic locations Thomson photographed in the 1860s.

• Discussions on the impact of Thomson’s work on modern photography, travel, and journalism.
• Immersive experiences with local historians, ensuring a deep connection to China’s cultural and heritage.

Jon Baines, company founder and tour creator, commented: “John Thomson could be considered the godfather of travel photography. His work opened a window to a part of the world that was then largely unknown to Western audiences. He didn’t just capture the landscapes and architecture; he documented the spirit of the people — from emperors to everyday citizens. This tour is an extraordinary opportunity to walk in his footsteps, understand his vision, and see how much has changed — or remained the same — since the 19th century." He added, “Thomson taught photography at the Royal Geographical Society, of which he became a Life Fellow, and his work has stood the test of time.”

This tour is a one-of-a-kind opportunity for anyone interested in the convergence of history, culture, and photography. It promises not just an exploration of China’s visual history, but a deep dive into the evolving narrative of how photography has shaped our understanding of different cultures over time.

Tour Dates: 11 – 26 October 2025
For more information, please visit: www.jonbainestours.com/china 

About John Thomson
John Thomson (1837–1921) was a Scottish photographer, geographer, and traveler who was among the first to photograph the Far East. His work documenting the diverse cultures of Asia and the streets of London made him a trailblazer in both travel photography and social reportage, helping to lay the foundations of modern photojournalism.

About Deborah Ireland
Deborah Ireland is an accomplished photographic historian who has lectured widely on the work of John Thomson and the travels of Isabella Bird. She is known for her deep knowledge of 19th-century photography and her ability to bring history to life for modern audiences.

The Directory of Travelling Photographers. Part 1: 1841-1881 and the new Part 2: 1882-1921 are now both available online via the Romany and Traveller Family History Society (RTFHS) website. The website has just been updated with part 2. Additional records have been found for the earlier period, and for post -921. It is hoped to incorporate these into one consolidated volume later in the year in both chronological and alphabetical formats. 

The Directory is the result of research by Chy Hersey, a RTFHS member, who found that travelling photographers were little known or acknowledged. Several hundred individuals have been uncovered to date, coming from a variety of backgrounds. Some of these had Romany, showfolk or similar associations, but many did not. Some even became nationally recognised or claimed to have important and even royal patronage.

In due course even more travelling photographers will be included when the two volumes are consolidated and an A-Z listing is compiled. If you know of a travelling photographer who should be included – and especially any photographs of or by travelling photographers – please let the RTFHS know. Email:  editor@rtfhs.org.uk

As before, the primary aims are to create greater awareness of the role of travelling photographers within the wider community, and to assist with correlation of photographs to photographers. The extent of finds means that the Directory cannot provide full biographical details but it is hoped to provide some exemplar stories in due course. Both parts have short introductions with notes on search methods and related resources, followed by listings in chronological order.   Brief details are given, usually of first reference, together with source of information.  Entries can also be searched for surnames, locations, etc. The lists include some related details which place the lives of travelling photographers in context, such as their family links, area and methods of travel, perils and misfortunes.

See: https://rtfhs.org.uk/new-the-directory-of-travelling-photographers-part-2-1882-1921/

The receipients of the Archives Revealed Scoping Grant programme for 2025-26 managed by The National Archives have been announced. Inevitably photography is integral to many of the recipients' collections. The programme is funded by The National Lottery Heritage Fund, the Pilgrim Trust, the Wolfson Foundation and The National Archives.

Of particular note is Oldham Archives which holds the Oldham Chronicle collection. The Chronicle archive is 77.3 cubic metres in size, which would fill around three quarters of a double decker bus, and consists of the firm’s own business records, photographs, negatives and glass slides dating back to the 1930s, as well as news cuttings covering key people, events, places, communities, crime and sport.

Lakeland Arts Trust, Cumbria Archive centre and Kendal Library hold the collections of Joseph Hardman, Lakeland photographer. Joseph Hardman’s photographic collection documents the changing face of the Lake District from the 1930s to the 1960s. With over 5000 glass plate negatives and 11000 photographs, the collection is an important record of how agriculture and rural traditions changed and sometimes disappeared in the mid to late 20th Century. The scoping grant will enable these organisations to work with a consultant and identify the best approach to making the collection accessible, through a unified catalogue, digitisation strategy, volunteer participation and community engagement. The consultant’s report will be a road map to sharing this important collection with a wider audience.

The Ouseburn Trust collection is a unique and wide-ranging record of the changes taking place in the area over the past few hundred years, from cradle of the industrial revolution to thriving urban village. Crucially, it tells the story of an intensive heritage-led redevelopment that took place from the 1980s that has become an important urban planning landmark and an exemplar of place-based regeneration. Ouseburn Trust will produce a scoping grant that will help them survey the organisation’s history and role in the regeneration, make the social history of the valley more accessible, and continue to collect stories sustainably. The collection consists of photographs, oral histories, and key planning documentation that help tell a story of huge change in the once predominantly working-class East End of Newcastle, but it needs help with accessibility and coherency.

Read more about these and the other recipients here. Past grant recipients are also available to view. 

Image: Oldham life in the 1930s. Oldham Archives

Apparently from Virginia, Birt Acres appeared out of nowhere in Britain aged 35, without a trace of his former life. Yet immediately he became a prominent figure in the late Victorian photographic world. He soon teamed up with Robert Paul to make a moving picture camera and then shot the first commercial films in Britain in spring 1895, in parallel with the work of the Lumière brothers in France, before repeating this in Germany. His innovations included being the first to establish a dedicated venue for watching films, to give a Royal Command Performance of moving pictures, to create screen advertising, and to design a home movie camera.

A disdain for showbusiness led to Acres squandering the commercial opportunities he created, and initiated the erasure of his remarkable story. From early in the twentieth century, film historians have consistently underestimated and undervalued his achievements.

In this book, for the first time, we see a detailed and compelling portrait of Birt Acres, with substantial new research on his early work in moving pictures and on the careers of his associates, leading directly to new interpretations of the importance of this elusive pioneer. It draws on a wealth of fresh sources, with a massively expanded filmography supporting this re-evaluation. Written by three specialists in early film history, this volume significantly revises the received story of Birt Acres as a photographer and film-maker, at the same time casting new light on the beginnings of cinema in Britain.

Finding Birt Acres. The Rediscovery of a Film Pioneer
Deac Rossell, Barry Anthony and Peter Domankiewicz
University of Exeter Press, 2025
336 Pages, 116 Black & white illustrations
£90. Discount code for a 30 per cent discount: ACRES30
See: https://www.exeterpress.co.uk/products/finding-birt-acres

The National Portrait Gallery, which owns twelve volumes of Camile Silvy's studio daybooks, has published a blog by Paul Frecker tracing the story of the daybooks and the missing volume 11 (July 1863-June 1864). Frecker also explores the importance of the books and Silvy's negatives. He is the author of Cartomania published in 2024 by September Publishing. 

Read the full blog here:https://www.npg.org.uk/blog/blog-container/camille-silvy-daybooks-missing-volume

Details of Paul Frecker's Cartomania are here

The National Archives, Kew, has announced a series of summer seminars. Of particular interest to photographic historians are: 

• Family photography archives: Practices, Silences, and Ideologies with Uschi Klein on 10 June from 1300-1330

  Drawing on the photographic family archive of three generations of amateur photographers from Romania covering the inter-war, communist and post-communist transition period of the 1990s, Uschi Klein (Senior Lecturer, School of Art and Media, University of Brighton) explores family photographs as visual narratives that document societal, cultural and political issues in a global context from a personal perspective. She will further investigate the practices, silences and ideologies of this particular family archive and how it constructs a narrative about Romania’s historical past, thereby functioning as the foundation of historical imagination and understanding.

  Uschi joins chair Giorgia Tolfo, Collections Researcher at The National Archives, to talk about image-making as a vernacular practice of resistance and survival in the context of political eras. Free. Details here

• Crowdsourcing the Past: Memory Projects in South Asia with Mallika Leuzinger on 24 July 2025 from 1300-1330

  Exploring her encounters with crowdsourced platforms whilst researching the development of amateur and domestic photography in the subcontinent, Mallika Leuzinger (German Historical Institute London) discusses how the platforms mobilise visual and material artefacts and a language of civic participation and range from purpose-built websites, Instagram accounts, and Facebook groups. Mallika traces the lives of these picture libraries to think through the will to ‘crowdsource’ the past in order to understand history as an everyday matter.

  Mallika joins chair Philip Carter, Academic Director at the Royal Historical Society, to discuss curatorial strategies, demographic entities, funding structures, political ideologies, and concerns about data collection attached to emergent archives. Free. Details here

Paul Messier, Director of the Lens Media Lab at Yale University’s Institute for the Preservation of Cultural Heritage, has nnounced that the lab will cease operations from 30 June 2025 as a consequence of a lack of funding. Founded in 2015 with funding and vision from the John Pritzker Family Fund, the Lens Media Lab led a pioneering research program, integrating physics, data science, art history, and conservation science to study 20th century photographic materials. Through advanced analytical techniques, including large-scale measurement of physical and chemical properties, computer vision, and the creation of reference databases, the lab identified, classified, and contextualized thousands of photographic papers and prints. This interdisciplinary approach provided profound insights into expressive properties of paper, artistic practices, manufacturing histories, and preservation needs of photographic collections.

Reflecting on the lab’s achievements, Messier stated, “When we began our work, the idea of applying empirical measurements to establish a ground truth for interpreting creative practice was untested and novel. Through deep interdisciplinary collaboration, we opened new doors for art history and conservation.” The initial gift enabled Yale to acquire Messier’s reference collection of historic photographic papers—comprising over 7,500 examples identified by maker, brand, and date. Considered the largest of its kind globally, press accounts describe the collection as the 'genome' of black-and-white photography.

The lab also organized two major symposia at Yale.  Material Immaterial: Photographs in the 21st Century(Link is external) (Link opens in new window) (2019) and Darkroom to Data(Link is external) (Link opens in new window) (2024) examined, respectively, the pivot from analog to digital photography and future research applications of the lab’s work.  

In 2024, the lab launched Paperbase, an innovative online platform that integrates semantic descriptions with precise measurements of visual qualities—including reflectance, texture, and tone—to characterize the material properties of photographic papers from the 20th century. Built on over 95,000 data points and approximately 15,000 images from the LML reference collection, users praise Paperbase for its groundbreaking approach to data visualization.

An early and significant resource developed by the lab is TIPPS(Link is external) (Link opens in new window) (Tipped-In Photographic Prints), an app focused on photographic prints in international photography journals and manuals published between 1855 and 1900.  Developed through a collaboration with Library of Congress researcher Adrienne Lungren and LML art historian Kappy Mintie, scholars widely cite TIPPS for its data exposing regional and international trade patterns in 19th century photography. Other notable contributions include an online compendium of manufacturer markings(Link is external) (Link opens in new window) applied to papers, and a site devoted to essays on the history of major manufacturers(Link is external) (Link opens in new window) of photographic materials. 

The online resources will remain accessible on the Institute's website.. 

Read more about the Lab here. 

With thanks to Helen Trompeteler for flagging this news. 

London's Photographers' Gallery is seeking a curator and an assistant curator. The Curator role involves curating, exhibition planning & delivery, and liaising with the wider Gallery team on budgeting, fundraising & development, press and communications, exhibition installation and events. As Assistant Curator you will support the work of the exhibitions team by providing key administrative support, as well as researching and delivering exhibitions at The Photographers' Gallery.

Details here: https://thephotographersgallery.org.uk/about-us/job-vacancies-tpg