Michael Pritchard's Posts (3081)

Sort by

Symposium: Photographing the City

Photographing the City builds on the
success
of
the
2009
Visual
Literacy
Series
–
Staging,
Manipulation
and
Photographic
Truth. This
year
there
will
be
two
major
events
based
on
Photography
and
the
City.

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
neighbourhood
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 ooking
at
local
businesses,
which
chart
the
different
waves
of
immigration,
which
have
made
such
a
powerful mpact
on
the
history
and
development
on
the
East
End
of
London.
http://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.
Rut’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  


The event takes place on 18 June
2011
at the University
of
Westminster, 35
Marylebone
Road,
London,
NW1
5LS,
(Opposite
Baker
Street
Tube
Station), London

RPS
Members
and
Students
£15/Non
Members
£20


To book call reception on 01225 325 733 or email reception@rps.org

Read more…
AHRC-Funded Collaborative PhD Studentship Geographical Projections: Lantern Slides, Science And Popular Geography, 1860-1960 University of Exeter Geography, Cornwall Campus (near Falmouth), University of Exeter and the Royal Geographical Society (with IBG), London.

Following the award of an AHRC Collaborative PhD Studentship, the University of Exeter, in partnership with the Royal Geographical Society (with IBG), is seeking to appoint a suitably qualified applicant for a doctoral studentship for three years commencing on 1 October 2011.

Principal supervisor: Dr James Ryan; 2nd supervisor: Dr Simon Naylor.
RGS-IBG supervisor: Dr Catherine Souch.

This collaborative doctoral project focuses on the RGS-IBG's unique collection of lantern slides and aims to locate them within their wider cultural and historical settings of science, commerce and entertainment. Analysing lantern slides alongside associated records, correspondence and contemporary publications (focusing on RGS-IBG archives but also using parallel UK collections), the studentship will explore how lantern slides were employed to convey particular forms of geographical information; how they circulated within geographical worlds; and how different audiences responded to them. It will also consider how technology and location affected audiences' attitudes, perceptions and expectations.

The successful applicant will work closely with RGS-IBG staff involved in the management of the collection and planning of dissemination strategies, including displays, presentations, publications and on-line material. In this way the student will play an important part in developing ways to open up this unique visual archive to wider audiences, including RGS-IBG members; archive and library users; the scholarly community; and the public at large.

The successful applicant will benefit from working within a lively and expanding research environment within Geography (Cornwall Campus, near
Falmouth) at the College of Life and Environmental Sciences, University of Exeter.

This project will be of interest to applicants with backgrounds in a range of disciplines and subject areas, including historical and cultural geography; history of technology; history and sociology of science; visual culture; and cultural history. Applicants should hold (or expect to achieve in 2011) a Master's degree and either a 1st Class or Upper 2nd Class Honours degree in a relevant discipline.

For eligible candidates the award covers Home/EU tuition fees for three years and provides a maintenance award of at least £13,590 per year for three years. The terms and conditions of the award will be those of the AHRC's postgraduate studentships. Applicants must therefore have a relevant connection with the United Kingdom, usually through residence. For further information, or informal discussion about the position, please contact: Dr James Ryan (email:
james.ryan@exeter.ac.uk; tel: +44 (0)1326 253761 or Dr Simon Naylor
(email: s.k.naylor@exeter.ac.uk; tel: +44 (0)1326 371864).

For details on how to apply please see
http://www.exeter.ac.uk/studying/funding/award/?id=801

The closing date for applications is midnight Sunday 12th June 2011.
Interviews will be conducted on the 27th June 2011.
Read more…

12200920895?profile=originalA perfect introduction to historic photographic processes. This one day workshop covers the beginnings of camera-less photography and will allow you to develop your skills and knowledge into the printing process that started it all. This is William Henry Fox Talbot’s first photographic process, the photogenic drawing, the basis for all photographic printing that came later. This workshop teaches you the basic chemistry and techniques of the process, discusses some of Talbot’s variations and allows you to explore the artistic possibilities under expert guidance.

The workshop takes place onhttp://talbotworkshops.webs.com/photogenicdrawing.htm 13 August and is limited to ten participants. It is led by Richard Cynan Jones. Click here for more information:

Read more…
12200914089?profile=originalBernard Quaritch will be exhibition photographic highlights from the Terry Bennett collection of early Chinese photography 1849-1911 from 6-11 June 2011 at its Golden Square Gallery, London. Bennett has produced two highly acclaimed volumes in a six-part series dealing with the history of photography in China. Details of the exhibition can be found in the attached PDF Bennett%20Exhib%20announce.pdf.
Read more…

James Clerk Maxwell and colour

12200920499?profile=originalEntanglements with Colour. An evening of talks celebrating the world-changing scientific discoveries of James Clerk Maxwell during his time at King's College London, on the 150th anniversary of his demonstration of the first colour photograph at Kings College, London.

Speakers:  Basil Mahon, Maxwell Biographer; Professor Frank James, Royal Institution; Mr William Ayliffe, Gresham Professor of Physic Professor John Ellis, Clerk Maxwell Professor of Theoretical Physics, King's College London

All are welcome to attend, registration not neccessary (for planning purposes if would like to attend it would be extremely helpful if you could email anna.ashton@kcl.ac.uk).

 

For more events around this centenary see: http://maxwell.kcl.ac.uk/events/2011/entanglements-with-colour 

Read more…

De Montfort University is pleased to announce the availability of one Wilson Fellowship for its innovative MA course in Photographic History and Practice. The Fellowship offers £5,000 toward the defrayal of tuition and other costs related to the MA and is open to all students from the UK, EU and international. To apply for the Wilson Fellowship, please submit a piece of recent writing on photographic history no longer than 10,000 words, in English, to the Admissions Committee.

For applications to the MA, please contact Student Recruitment at the Faculty of Art and Design at artanddesign@dmu.ac.uk or apply online at www.ukpass.ac.uk.

For questions about the MA programme or the Wilson Fellowship please contact Programme Leader, Dr Kelley Wilder at kwilder@dmu.ac.uk.

The MA in Photographic History and Practice is the first course of its kind in the world. It lays the foundations for understanding the scope of photographic history and provides the tools to carry out the independent research in this larger context, working in particular from primary source material. In addition to our collaboration with the Wilson Centre for Photography Studies in London, we work closely with the collections of the National Media Museum, Bradford, the Central Library, Birmingham, the British Library and private collections throughout Britain. Students handle photographic material, learn analogue photographic processes, write history from objects in collections, compare historical photographic movements, and debate the canon of photographic history. They also learn about digital preservation and access issues through practical design projects involving website and database design.

Research Methods are a core component, providing students with essential handling, writing, digitizing and presentation skills needed for MA and research level work.

Further modules will encourage independent thinking in theory and in history writing, introduce students to methodologies commonly encountered in photographic history, and set the students on a course for finding their own MA dissertation topic. Students receive expert advice on the thesis topic of their choosing, which is written in the summer months and submitted in September, one year after the course begins, in the case of full time study, or two years in the case of part-time. For further details on the course and application process, please download a course brochure from the web site: http://www.dmu.ac.uk/faculties/art_and_design/pg_courses/photographic-history-practice.jsp

Read more…

The Photographers’ Gallery is due to reopen in a transformed space at Ramillies St in late 2011/early 2012, providing, for the first time in our history, artists, audiences and our funders with the high calibre facilities expected of a photography space in the 21st century. Opportunities for effective fundraising from the corporate, private, and public sector will be dramatically improved through the new facilities on offer.

Reporting to the Director and working closely with the 3 members of the development team, you will be responsible for developing and implementing the fundraising strategy to raise the revenue needs for the new gallery programme.

With at least 5 years minimum experience in revenue fundraising, with 2 years at senior level, you will have a proven track record of successful fundraising within the corporate sector and have some experience in securing grants from foundations, trusts and the public sector.

Closing date for application June 1st 2011

See: http://www.photonet.org.uk/index.php?pid=243

Read more…
I am completing work on a database of RPS members from 1853-1900 and I recent put out a call for missing membership lists. This produced three more lists previously unknown to me. I would like to make a final appeal for membership lists for the following years: 1855, 1856, 1858, 1860-1865, 1876, 1877, 1894 and 1898.

If you have these – perhaps bound in with the respective volume of the Photographic Journal – I would be pleased to discuss how I might get a copy so that I can incorporate the names/addresses, etc., into the database.

Please email me: michael@mpritchard.com

Already research for this project has brought out new names of members who do not appear in the published membership lists and has revised the election dates of others. The completed database will be searchable and will be made freely available in the summer. Depending on the response then it may be extended to 1920.

Regards and thanks.

Dr Michael Pritchard
www.mpritchard.com  
Read more…

12200906494?profile=originalAmateurs and Artists: 19th and 21st Century Photography in the South West. A conference presented by Royal Photographic Society, Historical Group, from Friday, 13 May– Sunday, 15 May 2011 in the Lecture Theatre 2, Roland Levinsky Building, University of Plymouth Drake Circus, Plymouth PL4 8AA.

Early photography in Plymouth is an untold story. Robert Hunt, independent inventor of photographic processes, Richard Beard, the first daguerreotype licensee, Charles Eastlake RA, first RPS president, and Linnaeus Tripe, an early calotypist, were all from Plymouth. W.H.F. Talbot, inventor of the positive/negative (calotype negative) process, photographed Plymouth in 1845 and Roger Fenton photographed the Royal Albert Bridge, Saltash, in 1858. Local interest in photography was such that the Devon and Cornwall Photographic Circle was established in January 1854.

The conference is linked closely to three exhibitions. Amateurs and Artists: Early Photography and Plymouth at Plymouth City Museum and Art Gallery, on display 9th April to 30th July 2011. Out of the Ordinary, a group exhibition of work by members of the Royal Photographic Society, South West Contemporary Group is on display at Sherwell Centre, University of Plymouth, 9th to 27th May 2011. The third exhibition, Chemical Traces, is a response to Amateurs and Artists: Early Photography and Plymouth, and will be on display in Scott Building, University of Plymouth. Tours of these exhibitions form part of the conference on Friday and there will be a special viewing of Amateurs and Artists on Friday, 5.30 – 7.00 pm.

The speakers, who represent a wide range of photographic expertise: curators, university staff, photohistorians and contemporary photographers, include Carolyn Bloore, Jon Blyth, Colin Ford, Rod Fry, Michael Gray, John Hannavy, Jenny Leathes, Richard Morris, Nigel Overton, Matthew Pontin and Jem Southam. Speakers correct at time of printing.

 

Friday 13th May and Saturday 14th May 2011 10.30am-5.00pm. Main speakers and lecture programme. 

Saturday 14th May 2011 7.30 pm (Optional)
Conference Dinner, Jurys Inn, 50 Exeter Street, Plymouth. Menu options are to be pre-booked, see menu choice sheet and booking form. The cost is an additional £19.95. Jurys Inn is conveniently located for the Roland Levinsky Building, University of Plymouth and Plymouth City Museum & Art Gallery in Drakes Circus, Plymouth. Preferential rates have been agreed for overnight accommodation with Jurys Inn. See rates at bottom of menu choice sheet and booking information.

*Sunday 15th May 2011 Events 11.30 am – 4.00 pm (Optional)
A calotype demonstration. Revisiting the site of William Henry Fox Talbot’s photograph, The Victualling
Office, Plymouth, 1845, a view from the Battery at Mount Edgcumbe across Plymouth Sound. Meet at the
Orangery, (café) Mount Edgcumbe, 11.30 am. The Cremyll ferry leaves Admirals Hard, Stonehouse,
Plymouth at 11.15 am (ferry time 8 minutes). Departure times, 09.15 quarter to and quarter past the hour
until 21.15. Return journey depart Mount Edgcumbe 09.00 on the half hour and hour until until 21.00.
Single fares only £1.20.

2.30 – 4.00 pm Reconstruction of the position of the early 19th century Camera Obscura on The
Promenade, Plymouth Hoe. An opportunity to view the optics and the panorama within the Fotonow
VW Camper Obscura. The Fotonow VW Camper Obscura will be on this site, Friday – Sunday, 13th – 15th
May, 9 am until 6.30 pm.

Conference fee £50 per person  Conference dinner £19.95 per person (optional)

Booking forms and information can be downloaded from: http://www.rps.org/events/view/2052?m=0&y=2011&d=&t=0&g=Historical&r=0&reset=reset


For further information please contact:
Jenny Ford, Secretary, RPS Historical Group
Jennyford2000@yahoo.co.uk or tel. 01234 881459

Read more…

World Wet Collodion Day - 1 May 2011

12200915095?profile=originalWet plate collodion is a photographic process invented by Frederick Scott Archer in 1851. Prior to this the two main methods of photography had been the daguerreotype and the calotype, both of which had drawbacks. The daguerreotype produced sharp images but were one of a kind, duplication wasn't possible. The calotype was capable of any number of copies but the images were slightly soft because of the paper fibres in the negative. Archers process solved these problems with his wetplate process allowing for the first time multiple copies of sharp images.

Sunday 1st May is World Wetplate Day - see: http://www.wetplateday.org/. To celebrate this photographic artists John Brewer and Tony Richards invite you to their new studio dedicated to early photographic practices in Ancoates, Manchester between 11.00am and 4.00pm. Come and see the process take place, talk with the artists and have your portrait taken as it was done 130+ years ago. See: DarkboxStudios.pdf 

Contact: John Brewer M 07740 737 997 john@johnbrewerphotography.com
Tony Richards M 07742 026 447 tony@fourtoes.co.uk

The Darkbox Studio
32 Wellington House
Pollard Street East
Ancoats
Manchester M40 7FT
Read more…

12200919052?profile=originalAlthough BPH is not particularly commercially orientated every so often something comes along which deserves making a fuss of. British auction house Bonhams has a copy of Reports by the Juries (1851) up for auction on 7 June 2011. This particular copy was presented by W H F Talbot to his daughter Matilda in 1860 and come by descent to the present owner so it is reasonable to assume that it has come from Lacock Abbey. The lot is estimated at a very reasonable £20,000-30,000 for what is a rather wonderful item with exceptional provenance.

The lot can be found here http://www.bonhams.com/cgi-bin/wspd_cgi.sh/pubweb/publicSite.r?screen=lotdetails&iSaleItemNo=5006378&iSaleNo=18847&iSaleSectionNo=1 and the lot description and footnote is reproduced below:

------------------------------------------------------------------------------------

Lot No: 67•

GREAT EXHIBITION and W.H. FOX TALBOT
Exhibition of the Works of Industry of All Nations, 1851. Reports by the Juries on The Subjects in the Thirty Classes into which the Exhibition was Divided, 4. vol., ONE OF FIFTEEN COPIES GIVEN BY THE COMMISSIONERS TO WILLIAM HENRY FOX TALBOT, this copy inscribed by Talbot at the foot of the specially printed tipped-in presentation leaf to "his dear daughter Matilda 1st January 1860", 154 MOUNTED CALOTYPES, captioned on the mounts, images 175 x 224mm., 3 chromolithographed plates by Day & Son, some light occasional foxing (images unaffected), original red morocco by Riviére, title of each volume and the crowned monogram of Victoria and Albert stamped in gilt on covers and spines, red morocco turn-ins with gilt Greek key pattern, blue watered silk endpapers with gilt stamped Royal insignia between Victoria and Albert monograms, g.e, folio (347 x 255mm.), Spicer Brothers, Wholesale Stationers, W. Clowes & Sons, Printers, 1852

Estimate: £20,000 - 30,000, € 23,000 - 34,000
Request Condition Report

Footnote:
TALBOT'S MAGNIFICENT PRESENTATION COPY TO HIS DAUGHTER, MATILDA.

As inventor of the calotype, and the holder of the patent, Talbot agreed to accept fifteen copies of the Reports (each valued at £30), in lieu of what he might have received by exercising his rights under the patent for the calotypes used.

Nikolaas Henneman (Talbot's one time photographic assistant) was responsible for printing all 20,150 photographs needed for the Reports, of which 130 copies were printed, from albumenised glass plate negatives and calotype paper negatives by Claude Marie Ferrier and Hugh Owen respectively. Henneman was commissioned by the Royal Commissioners and Executive Committee of the Great Exhibition to undertake the printing of the positives on Talbot's silver chloride paper. However, as Talbot commented at the time, "[the Committee] are so extraordinarily stingy, notwithstanding they have a surplus of £200,000, and make such hard conditions with [Henneman], that it is doubtful whether he will earn anything by his labour" (Gernsheim, p.207). One hundred and thirty copies of the Reports were printed, each set comprising four volumes containing 154 calotype prints, for presentation to Queen Victoria, Prince Albert, Cabinet Ministers, foreign governments and institutions such as the British Museum. The Great Exhibition is today often thought to be synonymous with various decorative arts, but many of the calotypes serve to remind that British engineering and technology were very much in the minds of the Commissioners, including Crampton's locomotive (illustrated) and Naysmyth's steam hammer.

Provenance: William Henry Fox Talbot, presented to his daughter Matilda in 1860; and thence by direct decent to the current owner.

Read more…

12200913496?profile=originalAn online petition has been launched save Newcastle's Side Gallery which opened in 1977. The Gallery has a commitment to documentary in the tradition of the concerned photographer. It commissions work in the North of England and shows historical and contemporary work from around the world. Talks are organised around most of the exhibitions. The Arts Council has axed Side Gallery as a revenue client in its ‘National Portfolio’. The reasons for the decision are:

  • The gallery is part of a collective and therefore doesn’t have a board;
  • The gallery needs Arts Council funding and therefore isn’t sustainable;
  • There are too many galleries dedicated to humanist documentary photography in Side’s geographical location.

This flies in the face of the fact that the collective has continued to deliver what is unquestionably the strongest cultural legacy created in the North East over the past forty years.  Unlike many Arts organisations, its egalitarian collective governance has meant Side Gallery has never approached the Arts Council or Northern Arts for a bail-out. It is the only gallery in the country dedicated to documentary photography.

For see the petition click here: http://www.gopetition.com/petition/44355.html

To visit the Gallery's website click here: http://www.amber-online.com/sections/side-gallery

 

Read more…

Rescheduled from Autumn 2010, this symposium explores the impact and legacy of the photography magazine TEN.8. Published throughout the 1980s before it folded in 1992, TEN.8 was conceived by then Birminghambased Derek Bishton, Brian Homer and John Reardon to bring together the city’s photographers. Its impact however, reached far beyond this initial aspiration.

Speakers include Derek Bishton, journalist and founder member of TEN.8; David Brittain, Manchester Metropolitan University; Dr. Eugenie Shinkle, University of Westminster; and Mark Sealy, Director of Autograph ABP (Association of Black Photographers).

The Symposium takes place on Wednesday 4 May 2011 from 1pm-5pm at mac, Cannon Hill Park, Birmingham B12 9QH. Tel: 0121 446 3232. See: http://www.macarts.co.uk/events/Get%20Involved/Symposium 

Read more…

I am completing a project to create a searchable database of Photographic Society of London, later the Royal Photographic Society, members from 1853-1900. The database will be made publicly and freely available through the internet by De Montfort University in the Summer. If it is well received then its coverage may be extended. The project is well advanced with some 2200 unique names, addresses, membership category(ies) and relevant dates.

The data has been sourced from published Society membership lists, the Photographic Journal and Council Minutes held in the RPS Collection at the National Media Museum, Bradford, and from other libraries and research collections. However, there are membership lists missing for particular years, especially for the early period, although it is probable that no such list was published for some of these. To ensure that the database is as complete as possible I am looking to track down missing membership lists for the following years: 1855; 1856; 1858; 1860-65; 1867-68 (PJ states none published); 1871-73; 1876-77; 1894; 1898. They are usually found bound in the respective volume of the Photographic Journal.

Perhaps those of you with institutional files, libraries or collections could check these for me. If you find you have any such lists please contact me off-list.

With thanks.

Dr Michael Pritchard

Read more…

12200918266?profile=originalDe Montfort University, Leicester, has appointed Dr Elizabeth Edwards as Research Professor in Photographic History. She joins the De Montort team from her previous role as Senior Research Fellow at University of the Arts, London, on 1 June 2011. Her research interests are noted here: http://www.lcc.arts.ac.uk/Elizabeth_Edwards_research.htm.

The post was advertised in November last year and was previously noted on BPH http://britishphotohistory.ning.com/profiles/blogs/job-research-professor-in.  Edwards will offer some support to De Montfort's acclaimed History of Photgraphy and Practice MA course led by Dr Kelley Wilder, but as with her predecessor Roger Taylor who held the Professorship from its inception, Edwards' focus will be on securing research funding, developing the research base and profile of the photographic history department, and she also becomes the first Director of the Photographic History Research Centre based at the university. The PHRC is currently recruiting a PhD student to examine the nature of Kodak research.

The university will be making a formal announcement in due course but as news now appears to be public BPH feels able to note the appointment now.

Read more…

NMeM seeks media buyer

The National Media Museum is to seek a new media planning and buying agency.

Working for both NMeM and the National Railway Museum a tender will be held to appoint a media agency with five applicants at least being offered the opportunity to go through to the next tender stage for the contract to work with the two museums. Both museums are based in Yorkshire, with The National Railway Museum located near York and The National Media Museum based in Bradford.

The deadline for expressions of interest will be on 25 April, with invitations to tender set to be set out on 25 May.

Read more…

12200909674?profile=originalBPH can reveal the strategic priorities and medium term plans for the National Media Museum (NMeM), Bradford. These are set within the context of a 15 per cent government grant-in-aid reduction for the period 2011–12 to 2014–15. This is alongside a capital allocation that has reduced by over 50% from the previous spending review period. Bradford and the expectation that external private funding will be much harder to secure. The impact of the closure of the UK Film Council is still to be gauged in relation to the NMeM.

As a result the National Museum of Science and Industry (NMSI), the parent body of the NMeM and the other constituent museums, has a programme of change aimed at reducing costs, increasing efficiency and increasing income which will inevitably impact on the NMeM and its activities.  Across NMSI Staff costs are due to be reduced by 10 per cent. On a positive note the development of the NMeM gallery, Media Space – formerly known as the London presence – in London, completing the Internet Gallery, and agreeing a plan for the longer-term development of the NMeM are all seen as NMSI priorities.

 

Action plan

The museum has redefined its objective which is now: to be the best museum in the world for inspiring people to learn about, engage with and create media

·         Collections care and management

 

The NMeM, as part of NMSI, has already started work on realising a number of objectives. It is in the process of relocating objects held in its Black Dyke Mills store, just outside of Bradford, to the NMSI’s high density store at Wroughton.  One of its 2011-12 deliverables it to ‘realise improvements in environmental standards at the NMeM main site, including the extension of conservation facilities’.  A conservator was recently appointed.

 

NMSI is also developing an archives management system aimed at presenting material in the collections online. Alongside this effort the NMeM is tasked with progressing ‘targeted strategic acquisitions at the NMeM and their links to programme revenue generation including photographic and film archives, gaming and animation, driven by brand essence and values’

 

·         Audience targets and context.

In 2010–11 the National Media Museum is on target to reach between 500,000 and 550,000 visitors – well below the historical average. Visitor numbers have declined for a second year after a previous period of significant growth. Although some factors influencing the numbers have been beyond the Museum’s control, the decline has brought into sharp relief the need to make urgent improvements to the visitor welcome and day-to-day programme delivery, to accelerate the refreshing of galleries and to convey a clear, confident and high-impact message about the Museum to the outside world.

In 2011–12 the visitor target is 575,000. It is believed that a brand awareness campaign, developments to the Museum’s on-going programme (including more live interpretation, the development of an evening offer for adults and a stronger exhibition programme) and the opening of the new city centre park can help deliver this target.

In line with physical visitors, online visitor numbers were also down in 2010–11. The 2011–12 online visitor target seeks to improve on 2010–11, with 772,000 online visitors, although this will remain below the 2009–10 high of 846,000. The launch of the Internet Gallery, coupled with regular content updates to the website and a more focused social media campaign, should mean this target is achievable.

 

2011–12 deliverables

·         Gallery developments

o   Complete and open the Internet Gallery

o   Carry out a series of short-term gallery improvements including the Magic Factory, Profiles, Kodak and Animation galleries and relocation of the Games Lounge

·         Exhibitions, programmes and displays

o   Deliver an enhanced temporary exhibitions programme and  associated web content including: The Lives of Great Photographers; David Spero: Churches; Donovan Wylie: Bradford Fellow; Daniel Meadows: Fieldwork

o   Cultural Olympiad exhibitions: In the Blink of an Eye: Studies in Time and Motion; Crossing Boundaries: Bodies in Motion

o   Design and deliver more daily live interpretation including live shows

o   Design and deliver themed programming with contemporary relevance six times a year, covering the main school holiday periods

o   Design and deliver a new evening adult programme

o   Deliver the new film strategy to achieve a higher profile for the cinema operation and financial breakeven

o   Continue to develop the touring exhibition programme

·         Learning

o   Support the creation and delivery of exhibitions, programmes and displays, especially through audience research and advocacy

o   Deliver training for volunteers, casuals and explainers to deliver learning programmes

o   Promote and disseminate the Anim8ed web resource to museums and schools throughout the UK

o   Deliver the Internet Gallery youth engagement programme

o   Increase visits from booked groups and associated income, including enhanced school programme packages generating revenue

o   Deliver collections-based programmes for booked HE photography groups along with an HE photography online resource on landscape

o   Deliver regular non-school group leader and teacher preview events

o   Deliver 60,500 booked educational visitors

o   Deliver 93,500 adult and child visitors participating in onsite and off-site organised activities

·         Digital

o   Develop a digital strategy

o   Support and promote the non-digital exhibitions, film and learning programme, repurposing content online where cost-effective, using experimental solutions where appropriate

o   Develop media ‘debate and share’ web presence

o   Continue curatorial and digitisation input of content into a newly redeveloped website

 

2012–13 to 2014–15 planning and deliverables

·         Media Space in partnership with the Science Museum (due to open in 2012)

·         Fully costed ten-year development plan for the galleries and other spaces, exploring additional affordable space through a joint redevelopment with the adjacent Bradford Central Library to include larger purpose-built and more efficient temporary exhibition and collections care and management spaces, improved group learning spaces, media training facilities and multipurpose spaces as well as improved catering and retail spaces

·         Explore whether any joint development with the library might also form part of a wider development with other organisations to help the regeneration of central Bradford

·         Deliver live programmes that inspire our audiences to learn about, engage with and create media to 130,000 visitors by 2015.

Read more…

De Montfort University, Leicester, is offering a  PhD research studentship within the Photographic History Research Centre (PHRC), an international leading multi-disciplinary research institute, to suitably qualified UK or EU students.

The researcher will investigate an aspect of his or her own choosing that will address ‘The Nature of Kodak Research’. The researcher will have access to our partner institutions with substantial Kodak holdings: the British Library, the University of Rochester, the Victorian Museum, Melbourne, the National Media Museum, Bradford, and the George Eastman House, Rochester.

This research opportunity is funded by DMU in 2011/12 to build on our excellent achievements in the RAE 2008 and looking forward to REF 2014. It will develop the University’s research capacity into new and evolving areas of study, enhancing DMU’s national and international research partnerships.

 

The Nature of Kodak Research
Kodak, the company trading variously as Eastman Dry Plate Company, Eastman Kodak, Eastman Chemical Co, Kodak AG, Kodak Pathé and Kodak Ltd, is one of the icons of globalised industry.

‘Kodak’ became an uncommon eponym – a verb as well as a noun – and its research reached the heart of the global industries of defense, medicine, paper manufacture, chemistry and leisure. The four areas of Kodak marketing, business practice, research and manufacturing that united this global company provide unique insight into twentieth century history, through the lens of a photographic company.

In 2009, the Kodak Ltd archive entered the British Library, while the research journals were given to De Montfort University. These complement holdings at the University of Rochester, NY; The Media Museum, Bradford; the Victoria Museum, Melbourne, the George Eastman House, Rochester and Ryerson University, Toronto. A networking bid is already underway from the PHRC to unite these institutions in a formal Network.

The Photographic History Research Centre seeks a PhD candidate to research a specific aspect of The Nature of Kodak Research. The Kodak Research Laboratory was founded in 1912, with the installation of the Director Dr Kenneth Mees.

Subsequent research laboratories in other territories also took up directed and blue-sky research within their own organisations. Research at Kodak was many things: Emulsion research for scientific projects; chemical industry research; medical applications of photography; defense industry research on infra-red film; and colour research, among other things. The candidate may choose one of these specific areas, or an area reflecting his or her own specialist knowledge. The successful candidate will demonstrate an interest in the history of photography and the history of science.

Utilising the full spectrum of the networked archives, the successful candidate will participate in Network activities, and will have unprecedented access to the international spectrum of Kodak research. He or she will also have access to advice from all named partners in the Network, as well as the DMU supervisory team.

The Photographic History Research Centre has a strong track record in both the history of science and research of photographic industries. Among our active members working in this area are: Dr Michael Pritchard (British Industry), Dr Kelley Wilder (science and photography) and David Prakel (PhD candidate working on Kodak).

The PHRC seeks an energetic and team oriented person to join this growing scholarly community.
Applications are invited from UK or EU students with a good first degree (First, 2:1 or equivalent) in a relevant subject. Doctoral scholarships are available for up to three years full-time study starting October 2011 and provide a bursary of £13,770pa in addition to University tuition fees.

Applicants should contact the Faculty Research Office to receive an application pack, which requires a full CV with two supporting. Applications close Monday, 11 April 2011.

Contact:  Helen Harrison e: hharrison@dmu.ac.uk. Tel: +44 (0)116 257 7520 quoting ref: DMU studentships 2011

For a more detailed description of the studentship project please contact Dr Kelley Wilder on +44 (0)116 207 8865 or email kwilder@dmu.ac.uk  

Click here for more information: http://www.dmu.ac.uk/research/aad/scholarships-and-bursaries/phd-studentship-the-nature-of-kodak-research.jsp

 

Read more…

Photographic collections are found in libraries, archives and museums all over the world. Their sensitivity to environmental conditions, and the speed with which images can deteriorate present special challenges. This one day training session is led by Susie Clark, accredited photographic conservator. It is aimed at those with responsibility for the care of photographic collections regardless of institutional context.

The day provides an introduction to understanding and identifying photographic processes and their vulnerability, information on common conservation problems and solutions, and the preservation measures that can be taken to prolong the life and accessibility of photographic collections. Contact with real examples of different photographic processes is an important feature of this training session which is therefore limited to only 16 places. At the end of the day participants will be able to:

•identify historic photographic processes
•explain how damage is caused
•implement appropriate preservation measures
•commission conservation work.
Feedback from previous participants
•I learned how to store photographic material, how to identify different photographic processes and techniques to preserve photographic stock.
•Very worthwhile due to practical nature of the training day. I am able to leave here today confident that we can improve and upgrade basic preservation solutions, particularly storage, based on information learned about photographic processes and supports.
•I will review our approach to preserving photographic collections, upgrade storage media, and survey collections to identify preservation priorities.

Programme
9.45 Registration
10.00 Welcome and introduction
10.15 History and identification of photographic processes
11.30 Break
11.45 Conservation problems and solutions

12.45 Lunch
13.45 Conservation problems and solutions
14.45 Break
15.00 Preservation measures
16.15 End (and further opportunity to look at examples)

 

Details: http://www.bl.uk/blpac/photographic.html

 

Preservation Advisory Centre Training Day

Friday 20 May 2011

British Library Centre for Conservation
96 Euston Road, London NW1 2DB

Read more…