The life and work of a pioneering the nineteenth-century photographer and journal editor was commemorated at the end of February with a blue heritage plaque. George Shadbolt (1819-1901) is thought to be one of the first people to take a photograph through a microscope and recorded some of the earliest pictures of the Crouch End area, around his old home Cecile House, in
Crouch Hill. His home has since been turned into Kestrel House School which provides education for young people with autism.

Rosemary Wilman, of the Royal Photographic Society, and Keith Fawkes, of the Hornsey Historical Society, unveiled a blue plaque at the building and paid tribute to his contribution to the art. Mr Fawkes told the Haringey Independent: “He was a pioneer – a very important person to publicise locally. All these local people are very important. Crouch End was an interesting area then and these people become more important as the years go by. He was one of the pioneers of photography in Victorian times and he was extremely innovative.”

Around 150 years before digital photography revolutionised the process of taking pictures, Shadbolt pioneered early techniques, including methods of enlarging images. He was an early exponent of combination printing, the practice of combining two separate negatives to create a single image.

During an influential career he spent seven years editing what would later become the British Journal of Photography and was an early member of the Photographic Society of London.

The plaque is one of eight installed in honour of influential local figures as part a community scheme led by John Hajdu, of the Muswell Hill and Fortis Green
Association.

The Minister’s ruling follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, administered by the Museums, Libraries and Archives Council (MLA). The Committee recommended that the export decision be deferred on the grounds that the photograph is of outstanding aesthetic importance and of outstanding significance for the study of the history of photography.

Roger Fenton (1819-69) was a highly-regarded British photographer and one of the first- ever war photographers.

Best known for his images of the Crimean War, he also produced landscapes, portraits, still-lives and tableaux vivants during a career which only lasted just over a decade. Pasha and Bayadère was created in 1858 as part of a series of about fifty Orientalist photographs inspired by Fenton’s expedition to the Crimea. These were an expression of a general craze for all things oriental that can be seen in European art in the second half of the nineteenth century and reflected the Victorian fascination with the ‘exotic’ Middle East. In the photo, staged in his London studio, Fenton himself appears as the ‘Pasha’ (a Turkish military or civil official), watching a bayadère, or dancing girl, perform. The role of the musician is played by the English landscape painter Frank Dillon.

The photograph is one of only two examples of this image, the other being in the J. Paul Getty Museum in Los Angeles. The Getty’s version is uncropped and believed to be a proof, making this version, cropped for exhibition, in a sense unique. It was not intended to be a documentary image of daily life in Turkey or Egypt, but a fantasy about what the Orient stood for. Fenton’s aim was to marry the Orientalist subject matter popular in painting of the period with the new medium of photography to create a work of high art. Regarded as one of the best in his Orientalist series, and one of Fenton’s best works overall, Pasha and Bayadère is technically highly accomplished, with a strong composition and beautiful lighting.

Lord Inglewood, Chairman of the Reviewing Committee, said: “Photography is sometimes undervalued in this country, but Pasha and Bayadère demonstrates how the best photographs can hold their own aesthetically against other art forms. As well as being a remarkable image, the work is also important for the study of the history of photography. The fact that the Getty Museum chose to make their own version of this image the subject of a scholarly monograph shows just how highly Fenton’s work is regarded outside the UK.”

The decision on the export licence application for the photograph will be deferred for a period ending on 1 May 2010 inclusive. This period may be extended until 1 August 2010 inclusive if a serious intention to raise funds with a view to making an offer to purchase the photograph at the recommended price of £108,506 is expressed.

Anyone interested in making an offer to purchase the photograph should contact the owner’s agent through:

The Secretary
The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest
Museums, Libraries and Archives Council
Wellcome Wolfson Building
165 Queen’s Gate
South Kensington
London
SW7 5HD
Telephone 020 7273 8270

The National Portrait Gallery is holding a symposium around its current Irving Penn Portraits exhibition. Join leading photographers and art historians discussing themes and ideas around the exhibition. Speakers include photographers Paolo Roversi and Bettina Von Zwehl, exhibition curator Magdalene Keaney, Edward Barber, Director of Fashion Photography London, College of Fashion, Virginia Heckert, curator of Irving Penn: Small Trades at the J. Paul Getty Museum, Philippe Garner, International Head of Photography, Christie's and Dr David Anfam, Art historian, critic and curator.

Friday 12 March, 10.30-17.00
Ondaatje Wing Theatre

Organised in partnership with London College of Fashion
Tickets: £25/£20 concessions and Gallery Supporters

More details: http://www.npg.org.uk:8080/irvingpenn/events.htm

The National Media Museum, Bradford, is currently looking for an Associate Curator of Cinematography, working 21.6 hours per week (fixed term for 23 months). The salary is £21,302 pro rata (£12,781 per annum). With three dedicated cinemas and an impressive collection of over 13,000 important cinematography artefacts, film is at the heart of the National Media Museum’s offering. Working closely with the Curator of Cinematography you’ll make sure it stays there by researching and creating insightful content for exhibitions, publications, the web and other aspects of our public programme. At the same time, you’ll help to manage the care of and access to our collection, ensuring items remain well-preserved and easily available to audiences for years to come.

Required Skills:
Coming from a similar role within a museum, you’ll already have exactly what it takes to deliver enthralling presentations, engage with similar organisations and manage historic collections, including experience of handling objects and knowledge of documentation and cataloguing practice. A passion for film and cinema history, ideally with specialist knowledge of a particular area, is important too, as is relevant research experience. If you can also add effective interpersonal, communication and project management skills, you’ll play a key role in maintaining and developing cinematography at the Museum.

Award-winning, visionary and 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 through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.

Application Instructions:
Please note: This is a part time role for 21.6 hours per week. Salary is £21,302 pro rata, so you’ll receive £12,781 per year. Interested? Please send your CV and covering letter to: recruitment@nationalmediamuseum.org.uk

The deadline for applications is 5 March 2010.

The galleries are set to open in September 2012, and will focus on photography, film, television, radio and the Internet. The gallery space will feature: flexible installation spaces; a screening and performance space; private study rooms; a large welcome lounge; and a café and bar.

The NMeM parent body the NMSI is seeking designers to provide: ‘a digital, audio and visual environment that befits a forward-thinking and media-based project’; ‘a suite of facilities that are truly flexible and respond to the day-and-night programming of the entire but also specific areas of the space’; and ‘a design identity that is coherent on both macro and micro levels, from the use of the space’s existing features to the materials used for gallery and library furniture’. NMSI adds that the project is not fully funded yet.

Expressions of interest are currently being sought, and suppliers will be invited to tender through the Official Journal of the European Union from 14 April. The contract will be awarded on 15 June 2010.

Mention was made here last year of a major project to revamp the National Media Museum's signage and foyer area. This work which cost around £350,000 is now complete. Click here for details of the original report:

(http://britishphotohistory.ning.com/profiles/blogs/national-media-museum-newof) The photographs below show the outcome of the project which comprises:

• The installation of a video game display, including working video games and an exhibition of game consoles
• The removal of the box office and shop to new locations within the foyer
• The installation of an information wall
• New signage throughout the museum
• Space invader graphics on the main window and inside the foyer area
• LED top lighting in the foyer

Some photographs here show the outcome...

Born in Kingston upon Thames in April 1830, Muybridge studied photography in Britain and built his career in America. Perhaps best known for his extensive photographic portrayal of animals and human subjects in motion, he was also a highly successful landscape and survey photographer, documentary artist, inventor, and war correspondent. Muybridge’s revolutionary techniques produced timeless images that have profoundly influenced generations of photographers, filmmakers and artists, including Francis Bacon, Marcel Duchamp, Jasper Johns, Cy Twombly, and Douglas Gordon.

This broadly chronological exhibition will focus on the period of rapid technological and cultural change from 1870 to 1904. It will include the celebrated early experimental series of motion-capture photographs such as Attitudes of Animals in Motion 1878-1882, and the later sequence Animal Locomotion 1887. It will also consider how Muybridge constructed, manipulated and presented these photographs and will feature his original zoopraxiscope, which projected his images of suspended motion to create the illusion of movement.

Muybridge’s carefully managed studio photographs contrast with his panoramic landscapes of America, in which he balanced professionalism with a truly artistic sensibility. He was fascinated by change and progress and his photographs caught both the natural beauty of this vast continent, and the rapid colonial modernisation of its towns and cities. The exhibition will include many of his series of images of the Yosemite Valley, including dramatic waterfalls from 1867 and 1872, along with views of Alaska, Guatemala, urban panoramas of San Francisco, and his 1869 survey of the construction of the Central Pacific Railroad in California, Nevada and Utah. These photographs form a unique social document of this fascinating period of history, as well as representing a profound achievement of technological innovation and artistic originality.

Muybridge travelled between Britain, America and Europe throughout his career, studying photography in Britain, and later lecturing around the world. In 1874 while living in San Francisco he shot his wife’s lover dead and had her son placed in an orphanage, but was acquitted of the crime as a ‘justifiable homicide’, a story retold in Philip Glass’s opera The Photographer. He returned to England in 1894, and died at home in Kingston in 1904.

The exhibition is curated by Philip Brookman, Chief Curator, Corcoran Gallery of Art, Washington and at Tate Britain by Ian Warrell, curator of 18th and 19th century British Art, Tate, and Carolyn Kerr, curator, Tate Britain, and is organised with the Corcoran Gallery of Art, Washington. A fully illustrated catalogue, produced by the Corcoran Gallery of Art, will be available

The National Coal Mining Museum for England will be hosting a symposium, entitled ‘The Narrator’s Gaze, fifty years of documentary photography’, on Friday 26 March 2010, from 10.30am until 4.30pm. The event is being held in association with the new special exhibition, ‘Northern Soul, John Bulmer’s images of life and Times in the 1960s’.

A pioneer of colour photography during the 1960s, Bulmer’s work was included in the very first colour supplement launched by The Sunday Times. Inspired by The Times Special Issue entitled ‘The North’, the exhibition includes work specially reprinted from this influential story.

The conference celebrates fifty years since Bulmer first began recording England’s industrial heritage and will be chaired by Colin Harding, the Curator of Photographic Technology at the National Media Museum. The keynote speakers, whose work spans each of the last five decades, include John Bulmer, Homer Sykes, Martin Jenkinson, Ian Beesley, and Moira Lovell.

The event is being held in association with the University of Bolton and Gallery Oldham. A second symposium linked to Gallery Oldham’s forthcoming photography exhibition, ‘The North South Divide’, will be taking place at the Gallery Oldham on 15 May 2010.

Tickets for ‘The Narrator’s Gaze, fifty years of documentary photography’ are on sale now at £15.00 each; concessions are available on request. The tickets price includes refreshments as well as a tour of the exhibition. A reduced rate is available for delegates attending both events. For more information or to book tickets, please contact the Museum’s Booking Officer on 01924 848 806 or visit the Museum’s website www.ncm.org.uk

After more than 150 years the British Journal of Photography is to cease weekly publication and will return to being a monthly. Established in 1854 as a monthly, the BJ went fortnightly in 1857 and then weekly in 1864. The 3 March 2010 issue will be the first of a redsigned monthly magazine. The move leaves Amateur Photographer (established 1884) as the only weekly British photographic magazine.

Changing market conditions and the growth of the internet have precipitated the change. The BJ has a strong web and blog presence but for the last few years its influence within photography has declined as it has focused more on press, fashion and the image, moving away from a more general concern with photography. It's heyday was probably during the 1980s when a range of contributors under the editorship of Geoffrey Crawley kept readers informed about everything from holography and history, to interviews with business personalities as well as photographers. It's worth quoting one of the aims of the journal from issue no. 1 of January 14 1854: 'The admirers of the art naturally desire to have more particulars, and the practical operators more full and precise records of the suggestions, experiments, and successes in various parts of the world' by the end of 1854 it was able to be claim that it held 'the position of principal Provincial organ of Photography'.

The change is the end of an era for the British photographic press. For most of its history the BJP was always the most important journal of photography reporting news and features across the full spectrum of photography. It is sad that has now ended.

Read nore here: http://www.bjp-online.com/public/showPage.html?page=873499

The Association of Leading Visitor Attractions has published its latest survey of UK museum and gallery visitor numbers. In 2009 the National Media Museum, Bradford, saw 613,923 visitors - a decline of 18 per cent on 2008. The 2008 figure was 745,857 which had been a 4 per cent rise on 2007. Many other museums and galleries - especially those with free admission like the NMeM - had seen a boost to their numbers with the public turning to free activities due to the recession.

Colin Philpott, the NMeM Director commented: "We are disappointed that our visitor numbers were down in 2009 but this comes on the back of a period of considerable growth in the previous three years.

A number of factors have had an impact on our visitor numbers. Our summer holiday programme did not prove as popular as in previous years. Along with some other West Yorkshire attractions the ‘staycation phenomenon’ (people holidaying in the UK rather than abroad) appears to have passed us by as “stay at home” holidaymakers chose traditional UK tourist destinations such as the coast and cities like York.

Maintaining growth in visitor numbers is a challenge for any attraction and we have not had a major new gallery opening since Experience TV in 2006. However during 2010 we have already invested in a £400,000 redevelopment of the foyer area including a new Games Lounge, an interactive exhibition examining the history of videogaming, which opened last week and which is already proving extremely popular. More improvements are planned and we are confident we can improve visitor numbers over the coming years.

As important as visitor figures are, the Museum is doing extremely well in terms of other measures of success. Survey results show that our visitor satisfaction rates remain consistently high. In addition, the National Media Museum, alongside its sister venues - the National Railway Museum and the Science Museum - were last year named as the first museums in the UK to be awarded World-class Customer Service status."/font>

Richard Morris a descendent through his wife's family of John Dillwyn Llewellyn provides details of a series of events to celebrate the bicentenary of his birth in 1810.

12 January 2010 - Bicentenary of the birth of John Dillwyn Llewelyn (b. 12 Jan 1810)

5 February - Launch of the Lewis Llewelyn Dillwyn Diaries online, a new resource of the Swansea University Library Historical Collections. Details to be announced.

20 February - Penllergare – A Space Odyssey. Llewelyn Hall, Penllergaer. A family event organised by the Friends of Penllergare in association with Astro Cymru. (Free admission) 10.30am - Exhibition, Workshop and Activities. 2.30pm - Talk. From JDL to the Universe, Paul Haley (Director of Astro Cymru & the Share Initiative 3.30pm - 200th Anniversary Tea

3 March (provisional date) - Swansea Museum exhibition on Fellows of the Royal Society from Swansea

17 March - Residents of the Penllergare Orchideous House – A Botanist’s Perspective, Dr Kevin L Davies (research botanist & orchid specialist). 7.30pm. Llewelyn Hall, Penllergaer, organised by the Friends of Penllergare. (Free admission)

18 March - The Scientific Heritage of Wales: The Way Forward, a one-day conference at Cardiff Museum, 9am-4pm. Speakers include Professor John V. Tucker (Swansea University) whose paper, ‘A National History of Science’, includes work on the Dillwyns. A full programme is here. For booking and more information contact the organisers:Events Office, National Museum Cardiff, Cathays Park, CARDIFF, CF10 3NP; T: 029 2057 3148/3325 F: 029 2057 3321; post@museumwales.ac.uk

22 April - South Wales: 250 years of Landscape Change, Richard Keen (TV presenter & Chairman of the Historic Buildings Advisory Council). Organised by Friends of Penllergare. 7.30pm. Swansea Museum, Education Room.

15 May - Penllergare - A Paradise almost lost. Joint study day between West Glamorgan Branch of Welsh Historic Gardens Trust and Penllergare Trust. 10.00am - 5pm approx. at the Civic Centre, Swansea. Tickets available from WHGT Branch Secretary, 2 Cwmbach Road, Llanelli SA15 4EF. £30 including lunch etc. £25 for members of the WHGT and Friends of Penllergare. r.m.lees@coedmor.demon.co.uk, or send an SAE to Rita Lees, West Glamorgan WHGT Branch Secretary, Coedmor, 2 Cwmbach Road, Llanelli SA15 4EF

19th May - ‘The Dillwyns’, Richard Morris.2 pm, at “The Wednesday Club”, Rhossili Village Hall, Middleton. £1.50 admission.. Contact Dudley Thomas, 01792 390242. 29 May - Shooting Stars Astronomy Workshop/ In celebration of the bicentenary of John Dillwyn Llewelyn’s birth, learn about how Victorians viewed the stars in Wales and make your own stellar collage. Waterfront Museum, 11.30am, 1pm & 3.30pm Families 5 - 11. Space Today UK. Families (age 5 – 11) / Free/Delivered by Space Today UK/ pre booking recommended Tel 01792 638950

30 May - Funky Photograms! How did early photographers make their earliest images - without a camera? Find out and make your own using just shadows and light! National Waterfront Museum 11.30am, 1pm & 3.30pm. Families (age 5 – 11) / Free/book at reception on the day

30 May - Sunday Talk and Demonstration: Early Photographic Techniques with Richard Morris FRPS. Leading John Dillwyn Llewelyn expert Richard Morris will discuss Llewelyn’s pioneering work in the field of photography and bring alive his techniques in a practical demonstration. National Waterfront Museum, 2.30 pm Adults/Free/seating first come first served

25 June - Dillwyn Symposium: Science, Culture and Society. A one-day symposium organised by Swansea University. 9.00 am – 5.30 pm at Swansea Museum, followed by a reception (6pm) and evening lecture. A full programme to follow. Contact Kirsti Bohata at k.bohata@swansea.ac.uk

3 July - John Dillwyn Llewelyn’s Penllergare. A walk round the Penllergare estate. 2.15pm. Meet in the Penllergaer Council Office Car Park, (off the A48). Organised by Friends of Penllergare.

18th September - John Dillwyn Llewelyn’s Photographic Legacy. Leading John Dillwyn Llewelyn expert Richard Morris will give a talk and demonstration of the calotype photographic process of 1841 as used by JDL. [Time to be confirmed], at the Woodland Centre, Penllergare. Bookings only as space limited from Friends of Penllergare, Coed Glantawe, Esgairdawe, Llandeilo SA19 7RT or 01558 650416

20 September - John Dillwyn Llewelyn and Photography, Richard Morris FRPS, MPhil. Swansea Camera Club 7.15pm. Web address for location and details: www.swanseacameraclub.co.uk

13 November - ‘Images of Glamorgan’ Glamorgan History Society Day School. A one-day event at The Orangery, Margam including a talk on John Dillwyn Llewelyn by Richard Morris, a talk on Early Photography in Glamorgan by Carolyn Bloore. Contact paulreynolds44@googlemail.com

The latest V&A Photographs Section newsletter from Curator Ashley Givens includes details of new acquisitions, research, publication and exhibitions that the curatorial staff have been working on.

The annual re-display which opens on Friday, 14 May will present some of the new works and will focus on showcasing photographs from the Collection dating from the 1970s to today. The exhibition will be accompanied by a display titled The Other Britain Revisited: The New Society Collection of Photographs, 1972 to 1982. New Society, a publication of the 1960s and 1970s, aimed to further research in the burgeoning fields of sociology and social work. The display will include photographs by leading names in recent British photography, including Martin Parr, Daniel Meadows, Euan Duff and Brian Griffin. It will also feature issues of

New Society magazine alongside the prints to provide a sense of the photographs’ original context.

The V&A Photographs department, in collaboration with the Black Cultural Archives (BCA) has been awarded funding by the Heritage Lottery Fund to collect photographs related to the black British experience. The aim is both to collect the work of earlier documentary photographers active in the 1950s to 1980s not currently represented in the Collection, and to build upon the existing holdings of work by more recent practitioners. This funding will also facilitate an oral history archive and an exhibition to be held at BCA.

Mention was made previously of this exhibition which is on at theMetropolitan Museum in New York. A member has posted a wonderful example of photocollage on this site here: http://britishphotohistory.ning.com/profiles/blogs/unusual-family-album. There is a useful review of the show on the blog Gallery Crawl which is reproduced below. For those in the UK the catalogue is available on Amazon.

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“Playing with Pictures: The Art of Victorian Photocollage” at The Metropolitan Museum of Art

There are few surprises in the latest nineteenth-century photography exhibition at the Metropolitan Museum of Art, but there is plenty to delight in this jewel-box display of photocollages from the 1860s and 1870s. Works from the Met’s collection have been used as part of this exhibition, "Playing with Pictures: The art of the Victorian Photocollage," which originated at the Art Institute of Chicago. The Met collection has always been skewed toward the connoisseurial, even before the scholarly Thomas Campbell took over the Montebellian reins as museum director in 2008. Its encyclopedic collection has traditionally been employed in the pursuit of Enlightenment notions of ideal forms and idealized iterations of these forms by a hierarchical coterie of artists.

In the case of "Playing with Pictures," the elevated few whose works are displayed were, if not perhaps "artists," certainly already high-society. What makes this exhibition interesting, however, is the focus on a practice that hasn’t always been fodder for "high-art" exhibition spaces. The catalogue terms it "photocollage," but today we might also know it better as scrapbooking. Practiced within the home by mothers and daughters, often with the intention of creating a family heirloom or keepsake, it’s refreshing to see this slice of specifically female craft culture on display at a major museum. Long before Hannah Hoch got out her scissors and planted the Dada flag on the practice of reframing the photographic image, Victorian ladies were at it across the Western hemisphere. Their photocollages consisted of watercolor backdrops – usually domestic scenes, coquettish trompe l’oeil, or fanciful, delicately painted tableaux – with the visages of family and friends pasted atop in careful hierarchy. The exhibition reveals the intimacy of these collages, originally destined for private albums to be shared amongst close relations, and allows the viewer a novel insight into Victorian visual culture, a realm already heavily fetishized in academic and museum circles alike.

The exhibition opens with a "straight" photograph André-Adolphe-Eugène Disdéri a celebrated court and studio photographer of mid- and late-nineteenth-century Paris (reportedly, Napoleon stopped off at his studio en route to Waterloo). The format Disderi made famous is the eight-image carte-de-visite, the precursor to the modern multi-image passport photo, created with a multi-lensed camera. The curatorial team obviously wishes to make clear, in one checklist item, the increasing ubiquity of the photographic image from the 1850s onwards. The introduction of "wet paper" techniques from 1851 onwards facilitated cheap, easy, and quickly produced miniature studio photographs, and the opportunity to create not only one’s portrait but to fashion one’s public image. The photocollages created by aristocratic women with excess leisure time relied on this expanding technological field, turning it inwards, towards the privacy of the home.

Hung beside Disdéri’s carte-de-visite is a leaf from the Filmer Album of the mid-1860s, in which Lady Filmer has snipped away at family photographs to create a fanciful family tree in the shape of a green and black umbrella bedecked with five male relatives. The shape of the umbrella, as the wall text accompanying another collage employing a parasol suggests, points metaphorically to the popular nineteenth century accessory, used for flirtation or as a method of camouflage for gossiping underneath. The ‘Madame B’ Album – created by Madame Marie-Blanche-Hennelle Fournier, the wife of a career diplomat - displays photographs of family amidst carefully rendered snowy boughs. Fournier used her album to establish herself in the tricky familial position as her husband’s second wife, while also serving as a travelogue as she followed him from post to post across Europe. Other women patchwork their own families with members of various royal houses, reminding us again that the photograph could be refashioned in any number of ways to cement or suggest social status, linking one’s own family with kings and queens. Georgina Berkeley’s album shows nine figures pasted together within a viewing box, red drapes painted around them. The theatricality and performance of photographic poses are suggested innately in the arrangement of family figures taking in the spectacle of the opera.

The exhibition is successful for a few reasons, not least the fact that it takes a neat slice (two small rooms total) of ephemeral visual culture and creates a strong, convincing narrative for this practice within the origin story of photographic history. The exhibition also includes computer hubs where visitors can view further examples of photocollage, rather than cluttering the walls, and provides catalogues for public perusal with several essays by curators at the Art Institute of Chicago, including "The Page as Stage" and "Society Cutups."

Photographic appropriation? Performance and play with social rules and roles? "Playing with Pictures" has it in spades, pointing to the moment in the nineteenth century that foreshadowed our own contemporary obsession with the post-production manipulation and the social spectacle of observation that are part-and-parcel of what the photographic means today. Richard Prince and Sherry Levine have nothing on these ladies.

Playing with Pictures: The Art of Victorian Photocollage runs through May 9th

The Metropolitan Museum of Art

1000 Fifth Avenue

Take to 6 train to 77th street or the 4 or 5 train to 86th Street

Museum Hours: Tues-Thurs, 9:30-5:30; F and Sat, 9:30-9; Sun, 9:30-5:30