The Bodleian Libraries have been awarded  £1.2 million by the National Heritage Memorial Fund (NHMF) towards the acquisition of the Personal Archive of William Henry Fox Talbot. The only significant Talbot collection remaining in private hands, this important archive is being sold for £2.2 million and the Bodleian Libraries have until the end of February to raise the remaining funds.

Gifts can be made at the following link: http://www.giving.ox.ac.uk/libraries/fox_talbot_archive.html

William Henry Fox Talbot (1800-1877) was one of the greatest polymaths of the Victorian age, and is most famous today for being the British ‘founder of photography’.  The archive contains great potential for fuller understanding of the breadth of Talbot’s scholarly activities, and of the influences exerted by the women in his family, in particular their educative roles, their shared interests in botany, languages, art, travel and history that are so central to Talbot’s work, and their roles as practitioners, supporters, and collectors of the new art.

The collection includes artefacts such as glassware and artworks that Talbot photographed for the ground-breaking publication The Pencil of Nature, the first book illustrated with photographs. There is a strong connection to Oxford, as the archive includes some of the first pictures of the city.

Alongside items related to his pioneering work in photography, the archive also sheds valuable light on his family life, his role managing his estate at Lacock, his life as a Member of Parliament, and his range of intellectual interests from science to ancient languages. 

Carole Souter, Chief Executive of NHMF, said:  ‘Considered by many as the’ father of photography’, the impact of William Henry Fox Talbot’s pioneering work is felt daily by all of us whether we are snapping our holidays with a camera or capturing outings on our mobile phones.  This collection offers fascinating new insights into Fox Talbot’s family life, particularly the wonderful contribution made by the women of his family; this is why the Trustees of the National Heritage Memorial Fund felt it was so important that the archive should be secured for future generations to explore.’

Richard Ovenden, Deputy to Bodley’s Librarian said: ‘The archive is an essential resource for scholars on the history of photography, the history of science, and a range of other disciplines. The Bodleian is anxious to ensure that the collection is made available to scholars and to the general public to allow the legacy of this extraordinary innovator and pioneer in photography to continue to inspire new generations of researchers, innovators and photographers. ’

Hiroshi Sugimoto, one of the world’s greatest living photographers, said: ‘The Bodleian Library at the University of Oxford is seeking to acquire the archive of William Henry Fox Talbot in order to ensure that scholars, artists, photographers and the general public can have access to the mass of papers, sketchbooks, photographs and artefacts that it contains to promote our understanding and appreciation of this great innovator, stimulate new art and other forms of creativity and broaden our understanding of the founder of a field of communication that has changed our world. I would like to add my support to their campaign to secure the Archive of William Henry Fox Talbot.’

The Fox Talbot archive includes:

• original manuscripts by Talbot
• family diaries
• family drawing and watercolour albums and sketchbooks, including images made  by Talbot’s mother, his wife,  and by his sister
• correspondence
• early photographic images made by Talbot
• an image made by Talbot’s wife, c.1839, which may be the earliest image made by a woman
• several hundred photographs received by Talbot - by other photographers from Britain and across the continent, contemporaries of Fox Talbot who shared their images and attempts at early photography
• portraits of Talbot and his family
• materials and artefacts related to the Lacock estate including estate plans, bills etc
• books from Talbot’s personal library
• musical scores from Talbot and his immediate family
• scientific instruments from Talbot’s own collection
• botanical specimen albums made by Talbot and members of his immediate family.

The significance of the collection for various academic fields is reflected by the variety of well-known names who have lent their support to the Bodleian’s fundraising efforts to acquire the Fox Talbot archive: including two of the world’s greatest photographers Martin Parr and Hiroshi Sugimoto; scientists: Sir Paul Nurse, President of The Royal Society; Sir Michael Berry, FRS, Melville Wills Professor of Physics, (Emeritus), University of Bristol; historians: Colin Ford, CBE, Founding Head, National Media Museum; Prof Martin Kemp, FBA former Prof of Art History, University of Oxford; and Michael Pritchard, Director-General of the Royal Photographic Society.

The Bodleian Libraries have until the end of February to raise the remaining funds.  A series of public events is planned to support access to the Archive, including a major exhibition in 2017. Highlights from the Archive will also feature in the opening exhibition for the Weston Library, and in a number of smaller displays.

Image: 

Credit: Fox Talbot Archive, courtesy of Hans P. Kraus Jr. 

Gordon Moore, who has just died was the last of a long line of Liverpool camera makers. He was born in 1928 and his early early education was undertaken at Mersey Park School in Tranmere, a short walk from his home. After leaving school Gordon enrolled at The Institute in Whetstone Lane, Birkenhead, where he studied mechanical Engineering.

Leaving Whetstone Lane Institute he was called up for National Service spending two years in the RAF (Gordon’s father Herbert had been an original Royal Flying Corp member from 1915-1918).  At the end of his National Service Gordon took a job at Dave Lloyd’s Garage in Willaston, South Wirral where he drove the garage Austin van around what were then single track roads at  a steady 65 miles per hour. 

Gordon eventually decided he would like a change of scene and opted to work in the family photographic establishment, Moore and Co rather than their profitable cycle shop. The firm was based at 101-103 Dale Street Liverpool and so began a mercurial career with cameras. Gordon loved the older pieces of equipment because he could tinker with them and get them sorted and working again. He often gave me tips which I use today when I get a problem. Moore and Co during Gordon's tenure was regularly sought out by Liverpool University with their elderly equipment. The company often developed and printed photographs required in Court Cases, convenient as the Law Courts were and still are next door in Dale Street. They took the exposed films in and immediately transhipped them to Kodak Laboratories in Bold Street half a mile away who would process and print for return twice a day.

His other love was cycling. Gordon was never without a camera trying to be a cycling Cartier Bresson taking monochrome candids at every opportunity. These he developed and printed himself often being seen with a bulging wallet of photographs he was a seriously keen amateur photographer. Gordon met his wife though cycling as she was a keen member of Birkenhead Ladies Cycling Club and romance blossomed. They were married on 28 August 1954.

Gordon retained a love of cycling and regularly raced around Cheshire and North Wales as a member The Birkenhead North End Cycling Club an association he retained up to his death. One of Gordon’s great friends Dave Allen a professional rider who principally raced in Ghent Belgium still owns a “Clifton” racing cycle of Moore & Co. origin. It was a common sight to see Gordon and his best pal Les McGinley marshalling regularly at races for many years after he stopped competing.

His passing  ended the association of Liverpool with camera makers of the golden period, during which time many weird and wonderful cameras were produced, but none more interesting of varied than Moore & Co's eponymous Aptus.

Those of us fortunate to have known Gordon will fondly remember a gentle happy family man who was always a pleasure to meet with a screwdriver in one hand and a camera in the other.

John Coathup

The Daguerreian Portrait in America / Le portrait daguerreian en Amerique is an exhibition that will open will open in the home of Louis J M Daguerre in Bry-sur-Marne, France (near Paris) in September of 2013. It will be the first public exhibition of photographs ever held in the mansion once occupied by the inventor of photography.

More than 60 images will be included in the display, including daguerreotypes by such early American masters as Jeremiah Gurney and the Boston partners Southworth & Hawes. Among the portraits exhibited for the first time will be a daguerreotype taken in the world’s first studio of photography, the only such documented portrait currently known. Important identified images include daguerreotypes of Helen De Kroyft, “The Blind Authoress of New York” and of Benn Pitman, Chief Court Reporter at the trial of Abraham Lincoln’s assassins. Many of the most striking portraits, however, are character studies of unknown Americans -- depicted as they wished to be remembered, whether posing with a favourite pet or showing off the tools of their trade.

The exhibition in Daguerre’s mansion continues at the Musée Gatien-Bonnet in the nearby city of Lagny-sur-Marne. Here, more American photographic portraits, from the daguerreotype period through the year 1900, are featured.

Sometimes the portraits emphasize ethnic or racial identities, including dramatic portrayals of Native Americans and African Americans. Others depict the subjects at work: a windmill salesman closing a deal, a farmer selling his grain, and armed soldiers from the American Civil War. There are drinkers and temperance advocates, prisoners and sheriffs, chimney sweeps and newsboys—as well as several ghosts captured by the camera.

The exhibition is one of several projects related to Louis Daguerre sponsored by the City of Bry-sur-Marne and its Mayor, Jean-Pierre Spilbauer. Other events at Bry in the Fall of 2013 include the unveiling of Daguerre’s last surviving Diorama painting after a multi-year restoration; a workshop on 19th century processes of photography; and the 25th Annual Meeting of The Daguerreian Society.

The exhibition is co-curated by Prof. François Brunet of the University of Paris – Diderot, an internationally-recognized scholar specializing in 19th Century American photography, and by Wm. B. Becker, founder of the online American Museum of Photography  (www.photographymuseum.com). The exhibit at the Maison Daguerre is under the direction of Margaret Calvarin, and the exhibit at Musée Gatien-Bonnet is under the direction of Celine Cotty.

A book is in preparation. The exhibition is available to travel beginning in 2014. 

The Courtauld is holding a research seminar in history of photography which is open to all. On Wednesday, 27 February – Sarah Kember (Professor of New Technologies of Communication, Goldsmiths, University of London) will talk about Ubiquitous Photography: from Everywhere to ‘Everyware’. 5.30pm, Research Forum South Room. Further information here: http://www.courtauld.ac.uk/researchforum/TheCourtauldInstituteofArtHistoryofPhotographyseminar_SarahKember.shtml

BPH carried a report on the Gernheim exhibition currently on view at the Reiss-Engelhorn-Museen in Mannheim (see: here). The museum has kindly supplied an image showing the installation of Niépce View from the window at Le Gras, c.1826-7. 

Photography is not just a technology for documenting life: like most technologies, it is itself a powerful agent of social change. The presence of the photographer turns us all into performers: almost all aspects of life – from high politics to consumption, from violence to sex – change for and through the gaze of the camera. The habit of being photographed has become so ingrained that we are barely conscious of it, and yet, we constantly play to the camera. And even where it is temporarily absent, our behaviour is no longer naive; we see it through the prism of photographs of similar scenes, which we re-enact, appropriate or try to subvert. What is more, the role of photographer and photographed are no longer separate.  From the early decades of the 20^th century, the ranks of professional photographers were swollen by a growing army of amateurs, ranging from the dedicated and technically-versed practitioner to the more casual family snapshotter, typically equipped with small, portable and affordable cameras.  The mass production of photographic images that resulted not only provides a window onto aspects of the human experience on which written sources provide no or only very mediated evidence.  It was itself a social and political practice that transformed and transforms the social worlds we inhabit.

Around 1920, László Moholy-Nagy predicted that “the illiterates of the future will be the people who know nothing of photography, rather than those who are ignorant of the art of writing.” In 1992, W J T Mitchell noted the same deficit, and called for a “pictorial turn” in the humanities and social sciences. Another twenty years later, the study of photography is still often characterized by work in the art-historical tradition focused on the work of key individual photographers.   At the same time historians often draw on photographs to illustrate their work, yet rarely explore the transformative impact that the images they reproduce have exercised.   Meanwhile, however, a growing body of work is emerging (for instance within ethnography) that illuminates photography as social and political practice, examines diverse types of amateur photography and sheds light on popular engagement with different genres of photography.  Our conference seeks to bring together scholars from a range of disciplines to contribute to this emerging debate about photography as something we study not just for its aesthetic properties, but as a social practice, and as an archive of knowledge and power.

To this end, we are now inviting paper proposals for an interdisciplinary conference to be held on 27-29 June 2013 at the University of Nottingham, UK. Papers will be pre-circulated, and presenters will be invited to introduce their main hypotheses, and talk us through 5-10 key images at the event itself, which will be framed by a keynote and a roundtable. Our aim is to explore photographs not just as documents or reflections of a historical reality around them, but as active interventions in that reality. We are interested in papers that address photographers as actors in particular contexts as well as those that focus on interactions between photographers and their subjects, the performance of those who act in front of and for the camera and the relationship of photographers and those photographed in co-producing the resulting images.

We particularly invite submissions that explore the relationship and the changing and blurring of boundaries between professional and amateur photographers, and between private and public/published photography.   How did amateur photographers respond to the published images that surrounded them? Did they imitate, modify, subvert, or indeed ignore existing conventions regarding ‘good photography’ or (under particular circumstances/regimes) an officially sanctioned gaze? And to what extent did professional photographers respond to or seek to influence the practices of amateur photography?   Papers may also wish to explore how we place the amateur snapshot (or, as some historians have called it, the story of ‘mass participation in photography’) into photographic history.  Finally, we would like to invite submissions about the practices concerning the popular viewing, use and circulation of professional and amateur photographs, as well as the paratexts surrounding them, ranging from photo albums and illustrated diaries to captions or articles.

Paper proposals of c. 500 - 750 words should be submitted by email to maiken.umbach@nottingham.ac.uk and Elizabeth.harvey@nottingham.ac.uk by 31 January 2013. Speakers will be invited to submit a paper for pre-circulation of c. 3,500 words plus up to 10 images, to which they will speak at the conference in 15-minute slots, followed by ample discussion time. There will be no conference fee for speakers, and we shall provide lunches and refreshments. Speakers will, however, have to cover their own travel expenses and the cost of subsidised university accommodation. After the  conference, selected speakers will be invited to contribute to a special issue we have been commissioned to edit for the journal Central European History. 

Call for Papers

“Professional Photography and Amateur Snapshots: Reconstructing Histories of Influence, Dialogue and Subversion”

27-29 June 2013

The Birth of Photography: Highlights of the Helmut Gernsheim Collection, is a special exhibition at the Reiss-Engelhorn-Museen Mannheim’s Forum Internationale Photographie (FIP), and showcases two centuries of the history of photography. In homage to the ground-breaking photographer Helmut Gernsheim (1913-1995), the exhibition on the occasion of his 100th birthday reunites both parts of his one-of-a-kind collection of photographs for the first time in half a century. One of the most exceptional highlights of the history of photography will be on display – the “first photograph in the world”, a landscape photograph taken by Joseph Nicéphore Niépce in 1826.

With a total of 250 objects, the exhibition which opened on 9 September 2012 and extended to 24 February 2013 takes an unprecedented look at 19th and 20th century photography and its different stages. Visitors can follow the development of photography from the first daguerreotypes to the Victorian era up through masterpieces by contemporary photographers, which shape our collective visual memory. This exhibition is a collaborative undertaking between the Reiss-Engelhorn-Museen Mannheim and the Harry Ransom Center at the University of Texas in Austin, which houses the historical part of the Gernsheim collection.

Thanks to their collaboration, the 'first photograph' will be exclusively on display on European soil again for the first time since 1963: The first outdoor photograph in the world, the heliograph “View from the Window at Le Gras” by the Frenchman Joseph Nicéphore Niépce in 1826. After being displayed in an exhibition at the Crystal Palace in Sydenham in 1898, the work was thought lost for over five decades. Helmut Gernsheim spent years investigating the picture’s trail until he finally tracked it down in 1952 in a steamer trunk stored in London. This sensational discovery enabled Gernsheim to date the birth of photography thirteen years earlier than 1839, accepted at that time as the year of photography’s invention.

The exhibition will present other significant works from the historical portion of the Gernsheim collection, including some of the earliest daguerreotypes such as Louis Jacques Mandé Daguerre’s picture of “Notre-Dame and the Île de la Cité, Paris” made around 1838. Visitors can look forward to a journey through the currents of 19th century photography: from artistically oriented pictorialism to early war reporting up through nascent travel photography.

In addition to pictures from photography’s infancy, the show will present numerous icons of contemporary photography, arranged thematically: Works of nude, architectural, travel, urban, landscape and portrait photography will be on display, as will experimental and journalistic pictures by world-famous photographers. This one-time reunion of works from Gernsheim’s historical and contemporary collections in one comprehensive show will provide visitors to the exhibition fascinating insights into the nearly two hundred year history of photography.

The exhibition “The Birth of Photography: Highlights of the Helmut Gernsheim Collection” is being organized by the Reiss-Engelhorn-Museen Mannheim and the Harry Ransom Center at the University of Texas in Austin. A richly illustrated catalog will be published by Kehrer.

See: www.rem-mannheim.de

The exhibition is accompanied by a German/English catalogue by REM curator Dr Claude Sui. 

Either/And has been devised as a framework within which to debate and share perspectives, using issues and questions posed by the National Media Museum and its partners as the catalyst for discussion and exchange relating to media. A series of commissioned essays, interviews, images and films will be published on the site to serve as the catalyst for online public discussion.

New content has been added over recent months with more due shortly. 

See: http://eitherand.org/

In common with newspapers, radio and television at this time of year it seems appropriate to look forward to 2013...The year will see the: 

• Thirtieth anniversary of the National Media Museum. The museum opened as the National Museum of Photography, Film & Television in Bradford in 1983, with a remit to explore the art and science of the image and image-making.
• The Royal Photographic Society will commemorate its 160th anniversary, The Society was founded in London as the Photographic Society in 1853 and held its inaugural meeting on 20 January that year.
• 'Kodak' celebrates its 125th anniversary. The word Kodak was registered as a trade mark in 1888 and the world's first [original] Kodak camera was introduced that year.
• Kodak also introduced the Instamatic camera fifty years ago in 1963 based around the new Instamatic cartridge designed to make film-loading fool-proof.
• Leica has an important centenary and 90th anniversary. In 1913 The first Leica prototypes were built by Oskar Barnack at Ernst Leitz Optische Werke, Wetzlar. Ten years later in 1923 a pre-production run of 31 cameras were built.

There are probably others. What else happened in 1838 (175th), 1863 (150th), 1888 (125th), 1913 (100th), 1938 (75th) 1963 (50th), and 1988 (25th), 2003 (10th) or on any of the less obvious dates?

Please add your suggestions below.

With the end of analogue photography, the fate of the negative material is sealed as storage of image information, the place of the visual perception is mediated digital information entered. They will remove the knowledge of the nature of the photosensitive substrate, which had as a primary medium of recording over 150 years associated with the essential photography.

It therefore seems at the time, critically reflect on from a distance with the related phenomenon of the negative and of its interest in photography to question its meaning and benefits. At the cabinet exhibition The Creation of Beauty. Frank Eugene and the technique of art photography (3.12.2012.-24.02.2013) organized in cooperation with the German Museum of History and Archives section of the DGPh a conference that will discuss some key aspects of the negative. The contributions to the conference are focused on the genesis of the medium and its "finish" in the course of history. Use and importance of the negative into art, science and film production are as much for discussion as well as his epistemic potential within the media theory.

This is an Interdisciplinary Conference of the Deutsches Museum in cooperation with the German Society for Photography (DGPh)

Programme

Friday 22, February 2013

13:00 to 14:00

Registration and Coffee

14:00 to 14:30

Welcome by Helmuth Trischler, Head of Research, Deutsches Museum

Cornelia Kemp, Munich

Introduction to the conference

Section 1 PAPER FROM THE FILM

Director: Hans Christian Adam, Göttingen

14:30 to 15:15

Larry J. Schaaf, Baltimore

The black magic of Talbot's sciagraphy - extracting light from the shadows

15:15 to 16:00

Marc Osterman, Rochester

Truth and the Photographic Negative

4:00 p.m. to 4:30 p.m.

Coffee break

16:30 to 17:15

Dorothea Peters, Wanzka

The search for the right tone

17:15 to 18:00

Rolf Sachsse, Saarbrücken

The color negative and color palettes

18:00 to 19:00

Tour of the exhibition "The Creation of Beauty.

Frank Eugene and the technique of art photography "

Saturday 23, February 2013

Section 2 MANIPULATION

Conductor: Ulrich Pohlmann, Munich

10:00 a.m. to 10:45 a.m. Dagmar Keultjes (Cologne)

The invisible mask. The corrective negative retouching in portrait photography from 1850 to 1900

10:45 to 11:30 Cornelia Kemp, Munich

The Creation of Beauty. Frank Eugene and the technique of art photography

11:30 to 12:15

Marjen Schmidt, Oberhausen

The techniques of manipulation. The glass plate negatives of Frank Eugene

12:15 to 13:45

Lunchtime

SECTION 3 WAYS TO USE ART, SCIENCE AND FILM

Director: Martin Loiperdinger, Trier

13:45 to 14:30

Floris Neusüss, Kassel

For photogram. A negative without negative?

14:30 to 15:15

Jochen Hennig and Vera conceit, Berlin

Negative and negative imagery. Process and viewing habits and how to overcome in microscopy and X-ray technology

15:15 to 16:00

Martin Koerber, Berlin

The film and the original negative - opportunities and threats

Coffee break

16:30 to 17:15

Siegfried Zielinski, Berlin

Instantaneous archeology (the technical image)

17:15 to 18:00

Final discussion

18:00

Presentation of the Research Award DGPh photographic history

Exhibition Photo + Film, 2nd OG

A binding, free registration is requested by 8 February 2013.

Contact and registration:

Dr. Cornelia Kemp (c.kemp@deutsches-museum.de)

Heidemarie Klotz beer (h.klotzbier@deutsches-museum.de)

Phone 0049 - (0) 89-2179-380

Fax: 0049 - (0) 89-2179-514

Mark Sealy, Director of Autograph: The Association for Black Photographers has been honoured by being awarded a MBE in the UK New Year Honours List 'For services to Photography'.

More information about Autograph-ABH, its exhibitions and important archive of photography can be found here: http://www.autograph-abp.co.uk/

The V&A Photographs Department has just issued its latest newsletter. It gives news of the past year, exhibitions and other activities of the curatorial staff.

Click here to read it and to subscribe: V&A Newsletter  

FORMAT13 will bring the busiest and most ambitious programme of exhibitions and events planned yet. To help realise this we are looking to form a first-class team of volunteers to help us setup and deliver the festival.

FORMAT’s success relies on the enthusiasm and hard work of a group of committed volunteers. FORMAT13 offers volunteers the invaluable experience of working with internationally renowned curators, photographers, festival management team and the camaraderie of being part of an international experience. FORMAT will provide training, support and a reference to help your future career. Previous volunteers, who have excelled in their roles by showing passion and dedication, have been employed by QUAD/FORMAT, and many other creative organisations. 

We will make every effort to offer a range of experience and match individuals where possible to particular areas of interest. We are interested in volunteers from all backgrounds and areas of the community.

Join our team and help deliver the biggest and best FORMAT yet!

Deadline for applications is the 14^th January 2013. Interviews will be held in the week commencing 21^st January.

To apply, please download the FORMAT Volunteer Application, Person Specification and Equal Opportunities form below and return to formatvolunteers@derbyquad.co.uk or via post:

Museums Journal reports that the National Media Museum, Bradford, has made cuts of about £250,000 in the first phase of its review of spending, which is due to complete at the end of January.  Direct changes have been made to 35 roles and nine members of staff have taken voluntary redundancy. The roles reorganised so far were from: collections; public programme; communications; design; and learning departments.

There were 183 roles across the museum before the restructure, including 41 casual staff. 

Jo Quinton-Tulloch, head of the National Media Museum, said: "We do not anticipate any compulsory redundancies in this phase, and despite the on-going requirement to save money I am confident these changes will enable the National Media Museum to deliver a re-vitalised visitor offer, a more varied programme and focus on the use, research and development of the core collections.”

The review aims to bring down the running costs while also looking at ways to increase visitor numbers through improved public exhibitions, events and cinema programme.

See: http://www.museumsassociation.org/museums-journal/news/19122012-national-media-museum-announces-first-phase-of-spending-review and http://www.thetelegraphandargus.co.uk/news/local/localbrad/10115551.__250_000_is_saved_Bradford_s_National_Media_Museum_costs/

De Montfort University's Photographic History Research Centre has announced its Spring term research seminars in cultures of photography. These take place on Tuesdays 4 – 6pm in the Edith Murphy Building at De Montfort University, Leicester. 

January 15th
Dr Annabella Pollen (University of Brighton) [EM 5.15]
Here Comes Everybody? Mass-participation photography

February 5th
Dr. Ewa Manikowska (Polish Academy of Sciences, Warsaw) [EM 1.27]
Turning local into universal. Museums, photography and the discovery of Poland’s cultural patrimony (1918-1939)

March 5th
Dr Jennifer Baird (Birkbeck College University of London) [EM 1.27]
Exposing Archaeology: Time, Beauty, and the Role of Photographs in Archaeological Knowledge

All welcome, no need to book, just turn up. Any queries, please contact the convener: Professor Elizabeth Edwards, Photographic History Research Centre (eedwards@dmu.ac.uk)

In partnership with Plymouth University The Royal Photographic Society is hosting a seminar on 6 February 2013 on photographers' archives and their legacy. This is one of a series of events being held in Manchester, Birmingham and London.

The event will be of particular interest to:

• photographers with any sort of archive;
• students and early career photographers who should think about this from the start;
• curators, librarians and archivists; and
• families of photographers who are thinking about what to do with an archive.

Click here to find out more and to book. The event is free but places are limited. 

Amélina and the Talbots at Lacock is a new publication which takes extracts from the journals of Amélina Petit de Billier written between 1820 and 1835. She joined the family of W H F Talbot and remained at Lacock Abbey until her death in 1876. The volumes offer an absorbing insight in to her life with the Talbots at Lacock including both the busy social round and their continental travels. The journals were transcribed by Sheila Metcalf and Trudy Wallace.

The 84 page illustrated book is available from Madeiramedia@virginmedia.com or by writing to Madeira Media at 2 Madeira Road, Clevedon, BS21 7TJ. It costs £6.99 plus £1.45pp. For further information contact Jude Harris by email: jude.harris1@btinternet.com  

The post holder will make a significant contribution to the realisation of our ambition of becoming the best Museum Group in the world. They will deliver all elements of a comms campaign but will specialise in PR when appropriate. They will take specific responsibility for delivery a large number of campaigns and the Museum’s relationship with its online influencers.

KEY DELIVERABLES /ACCOUNTABILITIES

1.      By working with the Senior Press Officer contribute to the development of the Museum’s Media Relations strategy and play a significant role in its delivery. The strategy should have a heavy digital element (to agreed targets and priorities of digital strategy) and be based on visitor insight, innovative, creative and fully integrated with the whole comms mix.

2.      Work independently and with the Marketing, Web and Content teams to develop effective and integrated campaigns which have a strong digital bias (to agreed targets and priorities of digital strategy) where appropriate to drive physical and online visitation. Take the lead as Campaign Manager when appropriate.

3.      Manage an online influencer outreach program and build an active brand ambassador network to spread the word about the Museum (to agreed targets and priorities of digital strategy).

4.      Manage campaign budgets and timing schedules ensuring that all activity is delivered on time, on budget and compliant with SMG Finance guidelines e.g. the raising of Purchase Orders and the processing of invoices, raising queries directly with Finance where appropriate.

5.      To proactively identify both on and off-line media opportunities which the Museum could use to promote its activities.

6.      To proactively build and maintain effective local, regional and national media contacts, both on & off line.

7.      Proactively sell-in stories to targeted media and manage media enquiries.

8.      Make regular contributions to the NMeM social media platforms.

9.      Produce high quality media information (e.g. press releases, background documents, briefings, speeches) and organise press events, visits, and media calls.

10.  Develop online content for media use with a particular emphasis on rich media, e.g. video.

11.  Provide regular reviews of the Museum’s media coverage.

12.  Coordinate the Museum’s media competitions if outside an agreed campaign.

13.  Proactively develop excellent relationships with Museum staff and build an informed knowledge of the Museum, its intellectual territory and the sector.

14.  To assist with all general Comms Office duties and administration. These include maintaining the media contacts database, image library, monitoring media coverage and supervising filming and photography on site.

15.  Take care of your personal health and safety and that of others and report any health and safety concerns. Ensure proactive compliance with SMG H&S Policies, including risk assessments and implementing safe systems of work.

WORKING RELATIONSHIPS & CONTACTS

Internal

• They will report into the Senior Press Officer of the NationalMediaMuseum
• Collaborate with colleagues across the Museum to develop high profile comms campaigns and promotional initiatives and ensure relevant sign-off. This will particularly involve colleagues in the Cultural Programme, Film, Exhibitions teams, Design, Learning, Curators, Web, Development but also colleagues from right across the organisation.
• Work closely and share experiences with other Comms Team colleagues from across the Group e.g. those in sister Museums, the Visitor Insight Team.

External

• Press, Broadcasters, Bloggers and online influencers
• Partners - Sponsors, Welcome to Yorkshire and Bradford Council.
• Agencies – Press, Media Evaluation, Freelancers

Line management and budget responsibility

Budget holder of: will vary from campaign to campaign, unlikely to exceed £50k per campaign.

CANDIDATE PROFILE

Experience

• Solid grounding in a digital comms, PR, Press Office or journalistic environment with proven experience of community management and online PR.
• Practical experience of formulating and delivering integrated communications campaigns and managing budgets.
• Project management experience with a track record for effectively delivering multiple projects at one time in a busy environment.
• Experience of working within a complex, matrix layered and multi stakeholder organisation.

Skills knowledge and relevant qualifications

• Excellent written skills with the ability to produce high quality, creative, effective and accurate written materials and Press information.
• Proven ability to build and maintain relationships with journalists, bloggers and broadcasters.
• Confident and articulate with strong analytical and strategic skills
• Educated to degree level or with a relevant Comms qualification or demonstrated experience.
• Strong organisational skills and the ability to plan and prioritise complex and competing workloads under budget, resource and time pressures.
• A proven ability of managing budgets/financial management processes
• Up to speed with the latest thinking in communications, paying particular attention to the latest trends and innovations in digital media.

Behaviours

• Exceptional team player with the confidence and integrity to earn internal team confidence quickly.
• Single minded, results driven with a track record of relentless delivery.
• Creative with the ability to think laterally.
• Highly motivated, solutions focused, identifies and deals with obstacles to success, not deterred by setbacks.
• Takes pride in delivering work of high standard.
• Prioritises objectives and plans work, flexible and uses initiative.
• Flexibility to work occasional unsocial hours.

Scope for impact

The main aim of the post holder is to deliver campaigns that will generate visits to the Museum, its festivals and to the Cinema offer. In some cases they’ll deliver the campaign in its entirety e.g. the whole mix. However, for larger campaigns they’ll focus on the PR component only. They’ll be specifically responsible for the Museum’s relationship with its online influencers. This activity will enable us to meet our targets whilst enhancing the reputation of the Museum and the strength of the brand.

• Visitor numbers – Delivery of budgeted visitor numbers will lead to us achieving commercial targets and more positive relationships with sponsors, partners and the DCMS.
• Reputation management – Protects and strengthens the standing of the Museum to secure financial stability through visitors and other sources of income.
• Brand – Delivery of a consistently strong brand underpins the successful delivery of our business plans.

Please note:

• This job description is not exhaustive and amendments and additions may be required in line with future changes in policy, regulation or organisational requirements, it will be reviewed on a regular basis.
• This role is subject to a Disclosure Scotland basic criminal record check

More details: https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=285

Award winning, visionary and unique, the National Media Museum holds world class collections that embrace photography, film, television, radio and the web. The museum also hosts a wide range of events, from film festivals to premieres.

We are now looking for a Communications Manager with a proven instinct for finding stories that capture the imagination of local, national and international journalists. They also need to be able to manage marketing campaigns that raise our profile and dramatically increase attendance at our exhibitions and events. The museum has collections of international importance including the Royal Photographic Society Collection, The Daily Herald Archive and the Kodak Museum Collection.  We also hold the National Television Collection, the National New Media Collection and the National Videogame Archive

This role will suit someone who is energetic, outgoing and ambitious. It’s an opportunity for an experienced, hands-on journalist/PR who can build their own media network, engage opinion formers directly and exploit PR opportunities across both press and social media channels.

You will have personal experience of social media, such as Twitter or blogging, a track record of being able to build relationships and have an eye for an angle, capable of leading a small team by example and introducing stories – big and small - to the press with passion and persuasiveness. You’ll have the vision to see exactly how Press & Marketing can help deliver the Museum’s aspirations – and also the skills to inspire and influence curators to help drive and contribute to a continuous flow of good news stories.

Part of the Science Museum Group, the National Media Museum aims to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.

To apply, please upload one document containing your CV and a covering letter explaining how you meet the requirements of the position. 

Purpose of the Job

Through leadership of the National Media Museum’s Communications team you will make a significant contribution to the realisation of our wider goal of becoming the best Museum Group in the world.

You must be proactive and not afraid to get your hands dirty delivering task after task as you lead your team by example.  Whilst strategy has its place it must not get in the way of you doing your job and delivering tangible output.

You will oversee a small integrated Press and Marketing team but your strength will most definitely lie within Press.  Writing will come as second nature to you and you will have extensive experience with social media and online publishing.  You will have a knack for uncovering stories no matter how big or small and be well positioned to see these into the national and local press through your extensive contacts, persuasive personality and first rate networking skills.

You and your team will develop and execute campaigns that have innovation and visitor insight right at their core, these along with other initiatives will enhance our national and international reputation.  Appropriately for the National Media Museum the campaigns should have a strong digital element which when combined with traditional activity will exceed targets whilst enhancing the reputation of the Museum.  Working closely with the Science Museum Communications team you will identify and maximise publicity opportunities made possible from Media Space.

Critically important is your vision and the capability to take advantage of the socio-political landscape which Bradford has to offer.  All activity will be undertaken against a backdrop of building, managing and protecting the brand.

Key Deliverables/Accountabilities

1.                  Develop and implement high impact, cost effective, integrated communications strategies and plans, ensuring an appropriate balance between cultural, visitor experience, brand and commercial objectives.  Delivering budgeted visitor numbers and revenues and influencing peers to ensure you have the product necessary to pique both the interest of visitors and the media.  The Communications strategy should be established with your first six months; this should not only address the media but also the local key stakeholders for the NMeM and identify the Museum’s role within the Group.

2.                  Take overall responsibility for issues management at the Museum to protect its reputation and identify media and partnerships to maximise the profile of gallery developments, exhibitions, events, and achievements of the museum.

3.                  Identify and capitalise on stories big and small within both the Museum and the Media to demonstrate the vast array of exciting initiatives at the Museum and to communicate our relevance to current affairs.

4.                  Ensure the best return on the Communications budget by maximising agency relationships, tracking effectiveness of campaigns improving ROI and taking a rigorous approach to the budget management process which must be compliant with SMG Finance guidelines.

5.                  Work with the wider communications family within the Museum and across the Group e.g. Web, Development and Enterprises to seek synergies and ensure that we maximise all opportunities and that all communications strengthen the brand.  Advising others on their communications needs where resource permits.

6.                  Act as the contract manager for the One Film Strategy, ensuring comms activity supports revenue targets.

7.                  Advise the Head of Museum on Corporate Communications and Advocacy to ensure good will towards the Museum from Government, the media, funders and local stakeholders.

8.                  Proactively develop excellent relationships with Museum staff across the Group and build an informed knowledge of the Museum, its intellectual territory and the sector.

9.                  Develop and motivate a strong Communications team with the aspiration of making them the most innovative and effective team in the sector.  They will be target driven, positive, courageous and creative.  Taking specific responsibility for the line management of the Senior Marketing Executive and Press Officer and take responsibility for the delivery of their business and personal development objectives.

10.             To assist with all general Communications Office duties and administration.

11.             Take care of your personal health and safety and that of others and report any health and safety concerns.  Ensure proactive compliance with Science Museum Group H&S Policies, including risk assessments and implementing safe systems of work

Working Relationships and Contacts

Internal

• The Communications Manager will report into the Group’s Head of Communications.
• Executive, in particular the Director of External Affairs, Deputy Director of the Science Museum
• Take an active role on the Group’s Communications Strategic Team, and the National Media Museum’s Interim Management Group, Strategic Operations Group, Audience Evaluation Group and Programmes Board.
• Enterprises SMT: Head of Events & the Business Analyst.
• Museum SMT: Head of Museum, Head of Development, Head of Learning, Head of Public Programmes, Head of Collections, Future Strategy Coordinator and Head of VE.
• The Design Studio, Media Production Unit & Web.

External

• Through their team they will manage a variety of external agencies e.g. creative, media buying, PR, freelancers and media evaluation.
• Trade partners e.g. Yorkshire Attractions Group, Welcome to Yorkshire, Bradford Council, ALVA and Commercial partners e.g. Virgin Media.

Line Management and Budget Responsibility

Directly line manages:          2

Indirectly line manages:        1

Contractors/freelancers:       0

Budget Holder of £355k (includes salary costs)

Candidate Profile

Experience

• Extensive senior management experience in a busy press office of a major corporation/public body or on a busy new desk including issues management.
• A demonstrable record of building strong relationships with journalists on a national and regional basis, key opinion formers and stakeholders.  Additionally you’ll have a healthy network of media contacts at your finger tips.
• A demonstrable record of securing significant coverage by highlighting business relevance to current media stories.
• Significant experience of resource management i.e. budgets, people management, staff development, change management and performance monitoring.
• Seen as a leader in the use of digital and social media in a corporate context.
• Significant of experience of leading multi- disciplinary teams with a complex, matrix layered and multi stakeholder organisation.
• Proven track record of leading a motivated team that relentless and successfully deliver project after project over and above expectations.
• Experience of managing the marketing elements of an integrated Communications Campaign.

Skills, Knowledge and Relevant Qualifications

• Educated to degree level or with a relevant Communications qualification or demonstrated experience.
• Driven by results with the motivation and diplomacy skills to get the best out of your team.
• Able to demonstrate personal authority, credibility and leadership, to inspire confidence and respect in others.
• Able to evaluate political and sensitive situation and act accordingly.
• Extensive contacts, persuasive personality and first rate networking skills.
• Strong writing skills and good instincts for deciding what will be of interest to the Media along with the ability to identify potential issues which will need to be carefully managed to protect the reputation of the Museum.
• Excellent communication and influencing skills when dealing with peers, external stakeholders and colleagues at a senior level.
• Strong organisation skills and the ability to plan and priorities complex and competing workloads under budget, resource and time pressures.
• A proven ability of managing budgets/financial management processes
• Ability to think beyond the immediate area of responsibility to take into consideration the broader Museum agenda.

Behaviours

• A self starter, with a positive ‘can-do’ attitude and used to multi-tasking, balancing deadlines and workloads whilst always keeping a keen eye on the detail.
• Single minded, results driven with a track record of relentless delivery whilst possessing strong diplomatic skills.
• Sets a clear vision, objectives and expectation and ensures staff members understand their responsibilities.
• Calm in a crisis and when under pressure to deliver multiple projects/tasks simultaneously and concurrently.

Scope for Impact

The main aim of the post is to raise the profile of the Museum through the development and implementation of high-profile and creative communications campaigns and other marketing initiatives.  This will enable us to meet our visitor and revenue targets whilst enhancing the reputation of the Museum and the strength of the brand.

• Profile – Press coverage and Social Media secured in the UK and overseas will enhance the standing and financial stability of the Museum.
• Visitor numbers – delivery of budgeted visitor numbers will lead to us achieving commercial targets and more positive relationships with sponsors, partners and the DCMS.
• Onsite sales – Delivery of budgeted onsite revenue will continue to the successful trading of SMG Enterprises which in turn makes more cash available to SMG.
• Reputation management – protects and strengthens the standing of the Museum to secure financial stability through visitors and other sources of income.
• Consulting – By providing advice to the wider Communications team you will help increase effectiveness of their campaigns which will result in a better ROI. Additionally, it will ensure brand consistency across all communications activity.
• Brand – Delivery of a consistently strong brand underpins the successful delivery of our business plans.
• Product – Ensuring that our cultural programme is aligned to our audience and priorities and of a standard worthy of a ‘National Museum’ will help ensure financial stability through visitors and other sources of income.
• Strategy – Through the development of organisation wide strategies such as the brand alignment plan and audience plan you will shape the future of the organisation.

For further information about the National Media Museum, a full job description and details of how to apply, please visit www.nationalmediamuseum.org.uk/AboutUs/ and https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=279

Closing date: 13th January 2013

Interviews: week commencing 28th January 2013

The Media Collections possesses one of the most outstanding and valuable photographic collections in the region and one that ranks with major collections through the world. The photographs are of exceptional quality and span from the 19th century to present. The collection includes photographs from early daguerreotypes through albums, photography - illustrated books to contemporary color photographs and a significant collection of cameras and diverse photography and cinematography equipment.

The Media Collections is seeking a suitably qualified and experienced candidate to work full - time in collaboration with the Head of Collections on the registration planning of the collections.

Job responsabilities:

 1) Working with the Head of Collections and maintains records of accession, condition, and location of objects in museum collection, and oversees movement, packing, and shipping of objects to conform to insurance regulations: Observes unpacking of objects acquired by museum through gift, purchase, or loan to determine that damage or deterioration to objects has not occurred.

2) Registers and assigns accession and catalog numbers to all objects in collection, according to established registration system.

3) Composes concise description of objects, and records descriptions on file cards and in collection catalogs.

4) Oversees handling, packing, movement, and inspection of all objects entering or leaving establishment, including traveling exhibits, and confers with other personnel to develop and initiate most practical methods of packing and shipping fragile or valuable objects.

5) Maintains records of storage, exhibit, and loan locations of all objects in collection for use of establishment personnel, insurance representatives, and other persons utilizing facilities.

6) Prepares acquisition reports for review of curatorial and administrative staff.

7) Periodically reviews and evaluates registration and catalog system to maintain applicability, consistency, and operation.

8) Recommends changes in recordkeeping procedures to achieve maximum accessibility to and efficient retrieval of collection objects.

9) Arranges for insurance of objects on loan or special exhibition, or recommends insurance coverage on parts of or entire collection.

The Senior Registrar’s role is critical in identifying and resolving registration and labeling problems, working with the Head of Collections to organize the new acquisitions and updating the Museum’s collection management system with all new information and locations.

The Senior Registrar must thoroughly understand the Museum’s multi-layered object documentation processes and how to correctly enter and accurately retrieve information in the Museum's collection management system (currently The Filemaker System, but in process to migrate to KE Emu collection management system)

Required Qualifications:

- Bachelor’s degree in history, museum science or related field. An understanding of photography and film history can be an advantage.

- A minimum of two years experience with contemporary museum registration practices using complex databases and collections management systems. Experience with KE Emu collection management system is suitable.

- Experience organizing large amounts of information from multiple sources in a logical manner.

- Efficient typing and data entry.

More about the collections are here: http://www.qma.com.qa/en/collections/photography

Please send the CV to Maria Matta mmatta@qma.org.qa 

Closing date 21-12-2012