In a new 3D documentary commissioned for Sky 3D, Brian May’s Brief History of 3D takes the viewer on a fascinating journey from the gentle 3D of the Victorian era to the extreme out-of-the-screen 3D of the 1980s. The documentary will be screened on Sky 3D on 7 July 2011.

3D has endured a long bumpy journey. From William Friese Greene simply walking along a Hyde Park pathway in an 1893 3D short to Johnny Depp’s swashbuckling antics in Pirates of the Caribbean IV in 2011, 3D has come and gone several times. Some pundits are arguing that the current 3D era is already coming to an end, pointing to slowing 3D ticket sales; others are saying that there is no going back now and that, for the first time, technology and economics finally make 3D a viable form of mainstream entertainment.

Over the last 100 years, the 3D industry has been scattered with various attempts to lure audiences back into the movie theatres. It is this story that Brian May, ex-guitarist of rock band Queen, explores in the Sky 3D’s latest documentary commission, Brian May’s Brief History of 3D, scheduled for broadcast July 7th.

Not only is Brian May a qualified astro physicist, he is also a passionate advocate of stereoscopic 3D, particularly Victorian 3D of which he has accumulated a substantial collection of Victorian 3D memorabilia over the past forty years. Brian May’s lifelong 3D interest has materialised into a book, A Village Lost and Found, published in 2009. The book includes a proprietary 3D viewer known as the OWL, which brings the book’s 2D images into 3D life and was actually designed by Brian May himself.

Produced by Bigger Pictures in conjunction with Widescreen Productions ,who also produced Britain from the Sky 3D series, (which is currently being broadcast every Thursday on Sky 3D) Brian May’s 3D documentary is a genuinely fascinating look into stereo 3D right from the very early days of Victorian stereoscopic filming to the digital 3D of today. Clips include the insane film “Coming At Ya!” a 1980’s western film that, as you can probably guess from the title, used 3D as its main selling point with nearly every sequence featuring action jumping out of the screen. This is so rarely seen in today’s 3D movies and television shows. Yes, it is gimmicky, but still really fun now and again.

For more click here: http://www.3dfocus.co.uk/3dtv/brian-mays-brief-history-of-3d-review-sky-3d/4196

London's Victoria and Albert Museum is to open a new photography gallery expected to be in 2012. The outgoing Director Mark Jones has comitted the museum to creating the new and enlarged space for photography in what is now a furniture study room on the first floor. The current gallery in room 38A on the ground floor opened in 2003.

The V&A with its long association with photography since the 1850s has been criticised for failing to allow its dynamic photography curators to deal with photography in an appropriate setting. A problem that has failed to go away since the closing of the Canon sponsored Photography Gallery and a series of well-received specialist shows in the museum's exhibition space.

The opening of the National Media Museum's London presence Media Space just over the road and the re-opening of the Photographers' Gallery in its new building, both due in 2012, threatened to further show up the V&A's poor physical space for showcasing photography from its permanent collection.

Watch this space for more information as it becomes available.

This role is a job share opportunity, working 13 weeks of the year during school holidays only. You will provide high-quality administrative support to the Museum’s Collections & Knowledge and Programme teams.

It’s a rewarding role in a fascinating environment. Award winning, visionary and truly unique, the National Media Museum embraces photography, film, television, radio and the web. Part of the NMSI family of museums, it aims to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.

See: http://www.careerbuilder.co.uk/Jobs/Admin-Secretarial/Bradford/Collections-and-Programme-Assistant/J8E7HH6GM0KRDH0PJ7F/

Photograph conservator, Qatar Museums Authority, Media Museum Project, Doha, Qatar. The Media Museum collection consists of over 80,000 19th and 20th century photographs, cameras and cinema equipment. Photographs
range from early daguerreotypes through albums and photographically-illustrated books to contemporary colour photographs.

Qatar Museums Authority (QMA) has acquired masterpieces through the years, which QMA is committed to preserve and showcase to the world. QMA is dedicated to accomplish the vision of His Highness The Emir of Qatar through education and cultural interaction with communities in and outside of Qatar.

QMA's mission is to unite and focus the efforts of all museums in the State of Qatar for the acquisition, preservation and interpretation of collections and monuments held in trust for the Qatari people, to be shared with national and tourist audiences. In addition QMA will travel exhibitions or loan to other institutions to promote QMA's mission abroad.

Brief Description/ Purpose of Job: As the first full-time conservator to be hired for the Media Museum project you will be responsible for the long term preservation of the collections. You will be responsible for setting up the conservation laboratory, treatment projects on rare photographs and planning an efficient workflow.

Detailed Description/Job Responsibilities: Ability to perform comprehensive treatments on a wide variety of photographic materials, advising on the conservation aspects of any existing and new stores or display areas, advising on the display and use of the collections, carrying out condition surveys and preservation needs assessments, reparing written reports on survey findings, re-housing the collection as needed, advising the curatorial staff on conservation matters, ordering of conservation supplies, keeping up to date with developments in conservation and helping to organize an international conference and workshop on photographic conservation in the Middle East to take place in 2012.

Job Requirements: MA or Accreditation with ICON in photographic conservation, qualifications in paper or photograph conservation completed recognized programs. 5 years professional work experience, a portfolio of conservation treatments and professional activities plus competence references, knowledge of Arabic a plus.

Additional Details: Salary range depending on qualifications 19000-26000 Qatari Riyals per month (approx. UKP38,500-52,500 per year) (approx. $62,500-85,500 per year). Position includes accommodation.

How To Apply: Preferred method of application is using our Recruitment Website. http://prodapp.qma.com.qa:8008/OA_HTML/OA.jsp?page=/oracle/apps/irc/candidateSelfService/webui/VisJobSchPG&_ri=821&SeededSearchFlag=N&Contractor=Y&Employee=Y&OASF=IRC_VIS_JOB_SEARCH_PAGE&_ti=522118242&oapc=7&OAMC=75477_8_0&menu=Y&oaMenuLevel=1&oas=j0F_0xz_DckQurE1mKLFBw..

University of St Andrews - School of Art History. We are seeking to appoint a temporary Teaching Fellow with expertise in any area of the History of Photography to contribute to the School's undergraduate and postgraduate teaching. You should have or be about to complete your Ph.D. and will have some teaching experience at university level. The post will be for 9 months from 5 September 2011 to 15 June 2012.

You will be required to teach two Honours modules and one Postgraduate module in subjects to be agreed with the Head of School and will contribute to the team-taught 2nd-year modules on 'History & Theory of European Art, Architecture and Design, from the French Revolution to Vienna 1900' and 'Art, Culture and Politics from 1900 to Now'.

* Applications will be considered from candidates with less experience/knowledge of the area for appointment on Grade 5, salary range £24,370 - 29,099 per annum pro rata, with the duties to be agreed and altered accordingly.

Informal enquiries may be made to the Head of School, Brendan Cassidy: bfc1@st-andrews.ac.uk

Apply


£29,972 - £35,788 per annum, pro rata

Start: 5 September 2011

Fixed Term for 9 months
Interviews will be held on 5 August 2011

Ref No: CD1001

Closing Date: 21 July 2011

Further Particulars - www.vacancies.st-andrews.ac.uk

Ian Leith reports that a new version of the English Heritage/National Monuments Record guide to the archive is now available online. The 48 pages guide details the mainly photographic & measured drawings holdings of the NMR up to early 2011 and is a selective guide to main holdings. Go to: http://www.englishheritagearchives.org.uk/Catalogues/Default.aspx Ian has kindly provided a version that can be accessed here as a word document: EH/NMR collections list 2011

For access to items from the collection please go to NMR Enquiry & Research Services - Enquiry.ResearchServices@english-heritage.org.uk  quoting the code or numbering indicated. Ian Leith can be contacted at NMR Acquisitions, English Heritage, tel: +44 (0)1793 414730.  

Following on from the success of the 2009 Visual Literacy Series Staging, Manipulation and Photographic Truth, this year the Society will be holding two major events based on Photography and the City. Details of the first are below.

London: 18th June 2011 in partnership with the University of Westminster. Andy Golding and Eileen Perrier will focus on how to think through the production of photographic projects, how to contextualise the city, its development and inhabitants and consider ways in which the city and its social conditions, (housing, work, poverty, war), cultural trends (music, film, fashion) and artistic production can be represented through photography.

They will discuss the genres of documentary, urban landscape, street photography, fashion, photojournalism, conceptual art and constructed photography in representing city themes. Informed by significant historical images, beginning with Henry Fox Talbot's photograph of the construction of Trafalgar Square, they will show the development of student work from their summer school Photographing London leading to the most fascinating and revealing images. The teaching and learning experience has evidenced a structure to creative practice and has resulted in a valuable and growing archive of city based photography.

Tom Hunter will talk about his own photographic practice and how it responds to the city. His work, which focuses on his local neighborhood of Hackney in East London covers topics including the representation of marginal groups, such as squatters and travellers within the city. His work also sets out to document the changing face of the inner city by looking at council estates through their architecture, the residents and their histories. He will also be looking at local businesses which chart the different waves of immigration which have made such a powerful impact on the history and development on the East End of London. www.tomhunter.org

Marco Bohr Representing Tokyo Marco Bohr's presentation will focus on the different approaches used by Japanese photographers to represent the megapolis Tokyo. From the student uprisings in the late 1960s to the post-recessionary period of the 1990s, the photographic representation of Tokyo is inextricably linked to social, political and ideological shifts in Japanese society. Marco's talk will focus on how photographers utilized photographic techniques, such as blurriness, high key printing or overexposure, to create a subjective vision of a dense urban landscape. The varying impressions of Tokyo project a cityscape that is fluid, evolving and multifaceted. Marco is currently completing his PhD on Japanese photography of the 1990s at the University of Westminster.

Rut Blees Luxemburg will talk about her photographs which explore the public spaces of the city, where the ambitions and unexpected sensual elaborations of the ?modern project? are revealed and contested. In her photographic work she brings to light the overlooked, the dismissed and the unforeseen of the urban complex and creates immersive and vertiginous compositions that challenge prevailing representations of the city. Her large-scale photographic works expand the concept of the common sensual in relation to urban public space and representation. RBL?s work has been exhibited internationally and included in key publications and exhibitions on contemporary photography and art. Her monograph ?Common sensual? collects the artist?s work including her collaborative forays into opera, literature, architecture and urban culture. www.rutbleesluxemburg.com

Members and Students £15/Non Members £20
To book call reception on 01225 325 733 or email reception@rps.org

Originally published as a serial between 1844 and 1846, The Pencil of Nature was the first book to be illustrated entirely with photographs. Early enthusiast William Henry Fox Talbot hoped to spur public interest in photography—but was forced to cease publication after just six installments. In its time, The Pencil of Nature was not a commercial success. However, as with some other great works of art, it has been required to undergo the test of time in order to be duly recognized and appreciated.

More than 165 years later, Talbot’s book is recognized as a major contribution to both the history of photography and the development of the book. Indeed, it has been said that the importance of The Pencil of Nature in the history of photography is comparable to that of the Gutenberg Bible in the history of printing. Talbot invented the Calotype process and his photographs transformed everyday subjects into works of art. Architectural studies and local landscapes, still-lifes, close-ups, and even a single, carefully executed portrait—Talbot’s twenty-four prints remain strikingly modern and quietly beautiful.

The Pencil of Nature has been published in several different incarnations since its original appearance. Da Capo press published a reproduction in 1969 and Hans Kraus published the most accurate facsimile along with a commentary by Larry Schaaf in 1989.

This KWS edition is has been reproduced from the original plates held in the National Media Museum, Bradford. A 35-page illustrated introduction by Colin Harding, Curator of Photographic Technology at the Museum, gives shape to Talbot’s life and times, how Talbot became interested in the notion of a “photogenic drawing” process (placing photographic images on paper), how he invented the Calotype (the process by which photographic images could be developed on paper) in 1840, how he used the Calotype process to take photographs, and finally, how he conceived of The Pencil of Nature—the means by which he could show, for the first time in a book, the art of photography to the world.

Published at $150 the book is available on Amazon.co.uk for £98.33. Interestingly Amazon also offers a free copy of The Pencil of Nature (not the KWS version) for the Kindle (see: http://www.amazon.co.uk/The-Pencil-of-Nature-ebook/dp/B004TPLAU6/ref=sr_1_1?ie=UTF8&m=A3TVV12T0I6NSM&qid=1307877780&sr=1-1)

The publisher's description is here: http://kwspub.com/The%20Pencil%20of%20Nature.html

Quaritch is hosting a wonderful exhibition of highlights from the Terry Bennett collection until Saturday (see: http://britishphotohistory.ning.com/profiles/blogs/exhibition-early-chinese) in their former premises in Lower John Street close to Paccadilly Circus and Soho. At an informal reception last night Lindsey Stewart of Quaritch and Terry Bennett introduced the exhibition and some of the key pieces on show. The collection has been compiled by Bennett over a twenty year period and is probably the best of its type in the world. Quaritch have published the first two volumes of Bennett's history of photography in China and the next volume is due out in 2011/12.

The exhibition closes on Saturday - do take the opportunity to see an exceptional collection of historic photographs of China.

One of fifteen sets of the Reports by the Juries (1852) given by the Commissioners of the Great Exhibition of 1851 to William Henry Fox Talbot and presented by him to his daughter Matilda sold at auction in London today for £216,000 including buyer's premium (£180,000 hammer price). The successful bidder was the London-based dealer, author and collector of middle eastern photography Badr El-Hage. El-Hage, who is known to have close links with several museums and collectors in the Middle East, was presumably buying the four volume set on behalf of a client.

Bidding on the lot, which was estimated at a very modest £20,000-30,000, opened at £16,000 with commission bids and then it quickly became a bidding battle between a seated and relaxed El-Hage and a nervous tall gentleman standing close by him at the back of the auction room. The standing gent was taking instructions via a mobile phone. One telephone line was also open.

El-Hage entered the bidding early on battling with the standing gentleman who looked to have it within his grasp at £150,000 before El-Hage, returned at £160,000. The standing man paused, hands shaking, and asked his caller whether he wanted to carry on. For a fraction of a second the lot appeared to be his at £170,000. El-Hage, with no hesitation, then bid again taking the price to t £180,000. The standing man asked his caller if he wished to bid and then stopped at that point. El-Hage raised his bidding number 795 and the auctioneer brought his hammer down. The lot had sold.

The four volume set which contained some of the strongest calotype prints in any set I have seen will require an export licence. As there are other sets in the UK - albeit without the particular Talbot provenance - this is unlikely to present any great hurdle. There are sets in, for example, the British Library, at the National Media Museum and in the University of London's Senate House. Furthermore, there are, presumably, still sets in the hands of descendents or passed to libraries from the 115 recipients presented with copies back in 1852 and some more of the 15 sets that Talbot was awarded - although it is likely that the full quota was never completed.

There have been two relatively recent sales: in 2001 Christie's sold a set with medals, originally presented to Lt. Crossman RE for £64,250 (including premium) and in 2007 a set formerly from the Fred Spira Collection, originally presented to John Gott, sold for €75,600 (inc premium) approx £45,200.

A link to the original BPH blog report which includes a link through to the full catalogue description is here: http://britishphotohistory.ning.com/profiles/blogs/reports-by-the-juries-1851

The Royal Photographic Society, has announced that its Director General, Stuart Blake, will be retiring in the coming months. Society President, Rosemary Wilman, acknowledged Mr Blake's more than 20 years' distinguished service, initially as finance officer and since 2004 combining this role with that of Director General. The Society’s Trustees are now in the process of recruiting a new Director General, with a revised remit, to work with them in leading the future direction and development of The Royal Photographic Society. Details of the post, and how to apply are below.

BPH readers may be interested to know that a former Director General went on to head the National Media Museum and British Film Institute.

Founded in 1853 and the recipient of a Royal Charter in 2004, The Royal Photographic Society is an educational charity and learned society, ‘to promote the Art and Science of Photography’. The Society is the largest membership organisation representing individual photographers in the UK and also has a considerable overseas membership, a testament to its high global reputation.

Membership is open to all with an interest in photography, regardless of experience. The interests and activities of The Society are diverse, covering both the amateur and professional fields in all their varied aspects. The Society recognises world-class achievement with its global leading Distinctions. It runs a highly-respected annual programme of educational events, the prestigious annual Royal Photographic Society Awards and national and international exhibitions. With The Society’s staff and headquarters based in the beautiful city of Bath, the work of the Society involves a large and highly engaged volunteer community, who, along with its Trustees, support its wider regional and overseas operations.

With the retirement of the present Director General, The Society is seeking a dynamic and visionary individual to take up this critical post. The Director General will work with The Society’s Trustees to lead the future direction and development of the Organisation, and in addition, will have management responsibility for its staff and daily operations. As the key representative of The Society to its stakeholder and volunteer community, and to potential new members, the Director General will demonstrate flexibility, confidence and creativity. The post holder will drive innovative developments to raise the profile of the organisation nationally and internationally. Whilst an interest in photography and the arts is highly desirable, a genuine passion for the mission and future of The Society in the 21st Century is essential.

For further information on how to apply for this post, please visit www.perrettlaver.com/candidates, quoting reference 0886. The deadline for applications is midday on Wednesday 22nd June 2011.

The Britain from Above Project will make accessible approximately 95,000 images dating from 1919 to 1953 from the Aerofilms Collection. This important historic aerial archive was acquired by a partnership of English Heritage, and the Royal Commissions on the Ancient and Historical Monuments of Wales and Scotland in 2007 and illustrates the changing face of Britain throughout the 20th century. This post will be based in Edinburgh and will have particular responsibility for cataloguing the Scottish images which date from 1919-1953.

The post holder will be expected to have a degree in history, geography or other relevant discipline and/or a proven track record of working with photographic or other archives. The successful candidate must be able to demonstrate a high level of computer literacy and experience of using GIS and aerial photographs.

RCAHMS provides a challenging and stimulating working environment. Benefits include flexible working hours, generous support for Continuing Professional Development and a choice of Civil Service and stakeholder pension is also available. RCAHMS is an equal opportunities employer and operates a no-smoking policy within its building.

RCAHMS - The Royal Commission on the Ancient and Historical Monuments of Scotland. Fixed Term Appointment - 8 Months. £22,664 to £27,359.

For further information and an application form, contact HR department at personnel@rcahms.gov.uk, or in writing to HR department, RCAHMS, John Sinclair House, 16 Bernard Terrace, Edinburgh, EH8 9NX (Tel: 0131-662 1456; Fax 0131-662 1477).

Closing date for the return of completed application forms 12.00pm on 22nd June 2011.

One exhibition that might not come across your radar is Snaps Walking Pictures at Bridlington until 3 August 2011. Easy On The Eye have a display of walking picture images running from April 16 – August 3 2011 at Sewerby Hall, near Bridlington, East Yorkshire. I have also done an online gallery of the images for people who might be interested (“Snaps” Walking Pictures ).

The idea for this display arose after contacting East Riding of Yorkshire Council, and curators at Sewerby Hall and Gardens, who were helpful in furnishing me with information and images they held regarding the Snaps company and William Foster-Brigham, who operated in Bridlington.

It is difficult to display original waking pictures. They were produced at speed and can become brittle with age and sensitive to light. For the exhibition I decided to produce a series of prints based on the original images but incorporating graphic and handwritten elements often found on the back of the photographs, placed there by the producers and subsequent owners. The original images were scanned at very high resolution then edited digitally, although nothing has been removed from the photographs themselves beyond some cropping. These new images were then uploaded to a local photographic processors via the internet and outputted onto Fujiflex, one of the new photographic papers developed in recent years for digital photographs. One cannot help but wonder what William Foster Brigham would have made of all these innovations in his trade.

The original photographs are largely from the Easy On The Eye collection of Walking Pictures. In most cases the people are unknown but where we have any detail it is given in the caption list accompanying the gallery. I would like to thank Colin Harding at Bradford Media Museum for the loan of a couple of images. Also David Barnard who ran the remainder bookshop Wharf 18, Prince Street. David allowed me access to the premises to look for traces of the Snaps business before he closed his shop at the start of 2011.

See: http://gohomeonapostcard.wordpress.com/exhibition/ 

As already reported here in brief Elizabeth Edwards, who has published extensively over the last 30 years in the areas of photography, history and visual anthropology, will join De Montfort University (DMU) as the first Director of the Photographic History Research Centre.

Many of Professor Edwards’ edited books and monographs – such as Photography and Anthropology (1992), and Raw Histories (2001) – have become required reading across the subjects of photographic history, art history, history, anthropology and the history of science.

Her recent work includes the book, Photography, Anthropology and History (co-edited with Christopher Morton, 2009) and a forthcoming monograph with Duke University Press on photography and the historical imagination in late-Nineteenth- and early-Twentieth-Century England.

She is known equally well for her collaborative efforts to digitise museum collections, most notably through the creation of The Tibet Album, British Photography in Central Tibet 1920-1950.

Professor Edwards succeeds Emeritus Professor Roger Taylor, who retired last session. Professor Taylor’s research in photographic history prepared the formation the centre, as acknowledged in the 2008 Research Assessment Exercise.

Professor Edwards currently leads the HERA-funded project, ‘Photographs, Colonial Legacy and Museums in Contemporary European Culture’ (PhotoCLEC), which transfers to DMU with Professor Edwards. The university is also pleased to welcome Matthew Mead, the Research Fellow associated with this project.

Both Edwards and Mead joined the university on 1 June 2011.

National Media Museum - Award winning, visionary and truly unique, The National Media Museum embraces photography, film, television, radio and the web. Part of the NMSI family of museums, we aim to engage, inspire and educate about the world of media.

You will provide wide-ranging support to the Marketing and PR team, from general admin through to collating press cuttings and distributing marketing materials. It’s the perfect opportunity to build your knowledge of marketing and PR, learning to write copy, produce basic artwork and co-ordinate photography and filming and represent the Museum at events. Knowledge of PR/Marketing and an interest in the arts would be ideal – but if you have office experience, good organisational skills and the confidence to work with people at all levels, you’ll soon settle in.

Marketing and PR Assistant
£14,500 Bradford

To apply, please send your CV and covering letter to recruitment@nationalmediamuseum.org.uk  

Closing date: 10th June 2011
Interviews: 23rd & 24th June 2011

We welcome applications from all sections of the community in which we work. We particularly welcome applications from disabled people and we guarantee interviews to suitably qualified disabled applicants.

We regret that we can only respond to successful applicants.
No agencies please.