The Mohamed Ali Foundation Fellowship is hosted by Durham University and is awarded to early career (post-doctoral) or established scholars. The Mohamed Ali Foundation is a UK charity whose aims include advancing the education of the public in the history of the Islamic World, of Egypt and of the Mohamed Ali Family in particular, especially the period of the reign of Khedive Abbas Hilmi II (1892-1914).

In June 2018 the Mohamed Ali Foundation announced the launch of this Fellowship Programme, and which is established to devote scholarly attention to the Abbas Hilmi II Papers held at Durham University and to make the collection’s strengths more widely known to scholars. It is hoped that the fellows’ work will foster deeper understanding of an important period of Egyptian history, and of a transformative era in East-West relations.

The fellowship programme is based at Durham University and managed by an international Advisory Panel comprising academic subject specialists. The programme began in 2019 with the residency of the first fellow Dr Pascale Ghazaleh of the American University in Cairo: her inaugural lecture is now available online. Fellowships will be awarded over the next 5 years. An Advisory Panel, chaired by Professor Anoush Ehteshami will appoint one or two fellows each year.

Fellows will be early career (post-doctoral) or established scholars. The nature of the collection will often require good reading knowledge of Arabic, Ottoman Turkish, French, and English. The online catalogue of the collection indicates the languages of each file of material.

Fellows will research the Abbas Hilmi II Papers, on an agreed topic, and deliver a lecture at Durham University. Each lecture will ultimately form a chapter in a volume of high quality and original research to be edited by Dr Ghazaleh. In the interim the lectures will be published in the university’s Middle East Papers series. The breadth of material in the Abbas Hilmi II Papers will reward an interdisciplinary approach.  Such is the richness of the photographic material in the archive that fellows are strongly encouraged to highly illustrate their work with examples from the collection.  In order to guide candidate fellows an outline of the collection’s subject strengths is now provided in the fellowship application documentation. This is not intended to be prescriptive and the Advisory Panel will consider alternative suggestions so long as they are well-grounded in the Abbas Hilmi II Papers and this is evidenced in the application proposal.

The Fellowship, tenable in the Institute for Middle Eastern & Islamic Studies, entitles the holder to full access during their residency to departmental and other University facilities such as Computing and Information Services and the University Library. Accommodation is provided at Durham during the Easter term (late April-late June), but fellows may request to reside elsewhere for the duration of the fellowship. All fellows will visit Durham, if only briefly, in order to deliver their lecture. Lectures and other activities elsewhere during the fellowship will be encouraged.

Fellows who do reside at Durham will also be encouraged to take a full part in academic and collegiate life, delivering the already mentioned lecture and perhaps also contributing to seminars.

Fellows will be awarded an honorarium and accommodation and all meals will be provided for the duration of the fellowship; a research travel grant is also available to each fellow.

Full details: https://www.durham.ac.uk/departments/academic/school-government-international-affairs/research/fellowships/the-mohamed-ali-foundation-fellowship-programme/

For the second time, the Bibliotheca Hertziana, the Max Planck Institute for Art History in Rome, and Folkwang University of the Arts, Essen, invite emerging doctoral and post-doctoral scholars, working in the interdisciplinary field of theory and history of photography, to participate in and contribute to a photo-historical seminar. Next year’s topic is

Archival Absences.  An Incomplete History of Photography
It will be organized and led by Tatjana Bartsch (Bibliotheca Hertziana), Elizabeth Otto (University at Buffalo), Johannes Röll (Bibliotheca Hertziana), and Steffen Siegel (Folkwang University of the Arts, Essen) and is supported by the Alfried Krupp von Bohlen und Halbach Stiftung, Essen.

Rome, Bibliotheca Hertziana, Max Planck Institute for Art History
March 20–24, 2023
Deadline for applications: October 20, 2022
Here is a PDF of this call.

Details: https://foto.folkwang-uni.de/de/journal/news/archival-absences/detail/

The Photographers’ Gallery presents An Alternative History of Photography: Works from the Solander Collection, a bold new perspective on the history of photography, which will go on display from 7 October 2022 - 19 February 2023. 

As it is conventionally told, the history of photography is a chain of relationships connecting one great maker to the next. From its invention in the UK and Europe, the real history is much more complicated: it is a vast web of interconnected stories stretching from East Asia to West Africa, and from New Zealand to Uzbekistan, and a complex interplay of fine art, scientific, anthropological, documentary and amateur traditions.

Drawn from the Solander Collection, An Alternative History of Photography presents famous works and major artists seen with fresh eyes, whilst giving unknown pictures and newer discoveries the platform they deserve. Bringing together over 130 works, it parallels acknowledged greats with forgotten masters, and lesser-known works with regional champions.

Featuring unexpected images by legendary figures including Ansel Adams, Diane Arbus, Robert Frank, Man Ray, and Edward Weston, the exhibition positions these alongside those of Helen Stuart and John Lindt, early, self-trained practitioner Lady Augusta Mostyn, and African studio photographers Sanlé Sory, Michel Kameni, and Malick Sidibé.

The exhibition also contains many rarities and ‘firsts’, spanning photography’s early decades, with linchpin works by Sir John Herschel, William Henry Fox Talbot, Hippolyte Bayard, and Julia Margaret Cameron. Highlights also include a stunning photographic ‘altarpiece’ by Austrian performance artist Valie Export, shown alongside an extraordinary hand-coloured assisted self-portrait by the Countess of Castiglione. The American West is seen through the eyes of indigenous artist Richard Throssel. Major early works in Australian photography are shown alongside vintage examples from Chile, China, India, Jamaica, Japan, Mexico, Singapore, Russia and others.

Contemporary in outlook and visually captivating, An Alternative History of Photography: Works from the Solander Collection is essential for those seeking an introduction to the field, as well as anyone looking for new ways of reconsidering the traditions and reimagining the expected trajectories of photography.

An Alternative History of Photography: Works from the Solander Collection is curated by Philip Prodger and organised by Curatorial Exhibitions in collaboration with The Photographers' Gallery. The exhibition is accompanied by a major new book published by Prestel. 

An Alternative History of Photography: Works from the Solander Collection
London, The Photographers' Gallery
7 October 2022-19 February 2023
See: https://thephotographersgallery.org.uk/whats-on/alternative-history-photography-works-solander-collection

Ruth Quinn is the new Curator of Photography and Photographic Technology at the National Science and Media Museum, Bradford. The role was advertised earlier in the year. The new NS+MM post holders of Head Curator and Assistant Curator have yet to be announced. 

Ruth was Programmes Curator at the Thackray Museum of Medicine, Leeds, from, January 2022, She has a MA in Victorian Studies and a PG Cert in Art Gallery and Museum Studies. She is also registered for a PhD examining aspects of the Saltaire World Heritage site. 

Laura Brown has been appointed as Curator, Photography at St Andrews. The role was advertised in the summer and she succeeds Rachel Nordstrom. Laura is an experienced culture and heritage professional working within museums, historic buildings, and university special collections. She has a Master’s Degree in Fine Arts and a post-graduate certificate in Preservation and Archival Practice.

Her previous roles have includes at the American Museum, Bath, at the Footprint Project, Bath Abbey; at teh George Eastman Museum and University of Rochester. 

Birkbeck has an opportunity for an Associate Lecturer in the History of Photography to teach on the following module/s:

• You will be contributing sessions on photography on team-taught level 4 modules ‘Survey’ and ‘Materials and Process’
• You will be contributing sessions on photography on team-taught level 5 modules ‘Art and Society in the Nineteenth Century’ and ‘Art and Society from 1900 to the Present’
• You will be teaching the autumn term of the level 6 module ‘Photography between Art and Document, 1839-now’ (C19th-early C20th)

You will have knowledge of the history and theory of photography and experience of teaching undergraduate and mature students and be qualified to the corresponding level of the award as required to teach (or demonstrate equivalent professional/industry level experience).

Further to the person specification, essential requirements for this role are:

• You should have a good first degree in a relevant discipline/area

Please refer to the person specification for further selection criteria.

Remuneration

Payment is based on an hourly rate depending on length of continuous service with the College £63.55 per hour inclusive of pro-rata London Allowance and holiday pay) for contact hours worked. This hourly rate is based on the starting point of Grade 7 and is inclusive of a ‘Duties Related to Teaching Multiplier’ which covers preparation, teaching, administration, assessment marking and other examining duties in connection with the course.

Enquiries

If you would like to know more about the role please click on apply below or contact Professor Patrizia Di Bello, Head of Department, at p.dibello@bbk.ac.uk

Details: https://cis7.bbk.ac.uk/vacancy/associate-lecturer-in-history-of-photography-499700.html

Photography scholar Tomáš Dvořák will be Visiting Fellow at Trinity while he takes up the role of Sloan Fellow of Photography at the Bodleian Library. The Sloan Fellowship supports a research visit by a scholar in the history of photography.

Tomáš Dvořák is an assistant professor in the Department of Photography at FAMU in Prague and a research associate at the Institute of Philosophy, Czech Academy of Sciences. His research focuses on philosophy and history of media and philosophy and history of science and the interrelations of these fields, especially media archaeology of science and knowledge. He recently edited, with Jussi Parikka, Photography Off the Scale: Theories and Technologies of the Mass Image (Edinburgh University Press 2021). 

His research at the Bodleian libraries will focus on the publishing history of William Henry Fox Talbot’s Pencil of Nature and the relationships between photography and the aesthetics of the picturesque.

See: https://www.trinity.ox.ac.uk/news/visiting-fellowship-photography-scholar-and-sloan-fellow

Edinburgh auction house Lyon and Turnbull is offering a newly discovered album of salt prints from calotype negatives, c.1846-8 containing 117 photographic salt prints from calotype negatives. The album and associated material has come via a family descendent of Kinnear. 

C G H Kinnear (1830-1894) was a founder member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' and was described in the Photographic Journal and press of the period. 

Separately, the auction also includes a copy of the Art Union from 1846 and other photographs.

Rare Books, Manuscripts, Maps & Photographs
Lyon and Turnbull, Edinburgh
28 September 2022
lot 60. See the full lot description here. 

UPDATE: sold for £68,000 (hammer price). 

This new book looks at the history of the pinhole camera. Traditionally the pinhole camera has been linked with the camera obscura, but this publication sets out to separate the two, to appreciate and understand both from their respective evolution as technical objects and from their creative potential.

The book's author, Denis Bernard, is a researcher, photographer and teacher of the history of photography and Associate in Applied Arts.

Sténopés. Histoire et théorie d’une machine naturelle
[Pinholes. History and theory of a natural machine]
Denis Bernard
Éditions Mimésis Collection Images, Médiums
ISBN 978-8869763410
€22.00, 302 pages
Order from: http://www.editionsmimesis.fr/catalogue/stenopes/

Impressions Gallery is a charity that helps people understand the world through photography and acts as an agent for change. Established 50 years ago in 1972, we have grown to become one of the UK’s leading centres for photography.

We are seeking to appoint a Curator to work as part of our small and dedicated team in Bradford.

The Curator will manage our exhibitions and contribute ideas to the future programme, with opportunities to curate and lead on exhibitions that champion high-quality, risk-taking photography that is accessible to all. Other duties include management of our touring exhibitions, developing partnerships, implementing press and marketing systems, supporting our learning and engagement work, and assisting with the charity’s fundraising aims.

The successful applicant will join us at an exciting time; Bradford is UK City of Culture 2025. This is a game-changer, putting the city firmly on the national and international stage. Impressions continues to be a key partner and the successful candidate will play an active role in shaping our programme for Bradford 2025.

We are looking for a professional, ambitious individual with strong project management skills, who is able to balance multiple priorities. Applicants must have relevant photographic knowledge and experience of working within a professional visual arts environment.

We believe this role is an exceptional opportunity for someone with the right mix of experience, enthusiasm and initiative. The role is perfect for someone looking to take their career to the next level.

The salary for this role is £27,000 to £30,000 p.a. dependent on experience.

If required, reasonable relocation costs will be available for the successful candidate.

For more information and how to apply download our Application Pack.

Closing date: Monday 10 October 2022 at midday.

You will receive an email to confirm receipt of your application.

Interviews will be held Thursday 20 October 2022 via Zoom.

Final stage candidates will be invited to a further in-person interview at Impressions Gallery in the week commencing 24 October 2022.

See: https://www.impressions-gallery.com/opportunity/curator/

Michael Kurtz who undertook a summer placement with Four Corners in July 2022, as part of its ongoing collaboration with Birkbeck, University of London, has written a blog piece about the Half Moon photography workshop's touring exhibitions. The blog begins: In 1976, the recently established Half Moon Photography Workshop developed an innovative new form of photography exhibition, with radical implications for the accessibility of alternative photographic work nationwide. Rather than framing and glazing prints, as had been standard practice, members of the workshop began assembling images and text on card panels which were then laminated in plastic and hung from eyelets...

Read the full piece here: https://www.fourcornersfilm.co.uk/blog/an-introduction-to-the-half-moon-photography-workshop-s-laminated-touring-exhibitions

The latest issue of British Art Studies carries two papers of interest to photo-historians. As noted earlier Luke Gartlan's 'Inventing Provinciality: St Andrews and the Global Networks of Early Victorian Photography' which examines the advent of photography in the Scottish university town of St Andrews in the context of local ties to the British Empire.

The second paper is Margaret J. Schmitz's  'Capturing Futurity: The Artistic Exchange of Alvin Langdon Coburn and H. G. Wells'  which demonstrates that Coburn’s experimentation with radical aesthetics began before 1910 and was instigated by his friendship with English science fiction writer, Wells. 

Both are available free of charge here: https://britishartstudies.ac.uk/issues/issue-index/issue-23

This new book examines the role of photography and visual culture in the emergence of ecological science between 1895 and 1939. It is about photography and the origins of ecology - about the practice of ecology as visual science. Picturing Ecology explores the contribution of visual experience and practice to scientific knowledge. It aims, in particular, to demonstrate the critical role played by photography in mediating and configuring new forms of knowledge emerging from ecology in the early twentieth century.

It concentrates mostly on the story of early British ecology, it recreates the field practices and social contexts of ecological science as a discipline carried out in excursions, public meetings, international gatherings and publications. Visual culture, and especially photography, is explored as central to all these discursive spaces. The study is underpinned by substantial research in a number of archives.

Picturing Ecology. Photography and the birth of a new science
Damian Hughes
Palgrave Macmillan
ISBN: 978-981-19-2515-3
£109.99 (hardcover) or £87.50 (epub)
Details here

University of the Arts has published a blog post looking at the work being undertaken by Brigitte Lardinois and the Photography and Archive Research Centre (PARC) based at UAL on the Edward Reeves Archive in Lewis, East Sussex. This is home to the world’s oldest photographic studio — Edward Reeves Photography. Still active and operated by direct descendants of the founder, four generations of Reeves photographers have encapsulated the stories of the inhabitants of this English market town since its establishment in 1855. The current owner, Tom Reeves, now runs the Studio, still located on Lewes' High Street, with his wife Tania Osband. Together, they continue to add to its legacy.

Reda the full blog here: https://www.arts.ac.uk/knowledge-exchange/stories/inside-the-edward-reeves-archive-in-lewes

Impressions Gallery is hosting a seminar alongside its exhibition Invisible Britain: This separated Isle. Why does photography have a duty to ethically represent people from marginalised communities? How can photographs change stereotypical media narratives around class, and in particular working class identity? Is socially engaged photography the key to producing authentic and trustworthy visual representations of people and communities?

Join photographers Amara Eno, Ciara Leeming, Joanne Coates and filmmaker and curator Paul Sng for a lively and informative discussion. 

Invisible Britain: Photography & Representation
Saturday 8 October 2022, 1400-1530 (BST)
Tickets are ‘pay what you can afford,’ suggested donation of £3 or £5
Book: https://www.impressions-gallery.com/event/invisible-britain-photography-representation/

Katherine Howells at The National Archives has written a blog post on photography in India. She starts: In the second half of the 19th century, photography began to flourish in many areas of the world, including India. New photographic societies were established and amateur and professional photographers, both Indian and British, began to expand their activities and set up photographic studios.

With the 1862 Fine Arts Copyright Act, photographers and studios were able to secure copyright protection for their photographs in the United Kingdom. Photographers working in India took advantage of this opportunity, particularly when they intended to sell photographs abroad. The copyright records we hold at The National Archives therefore provide us with a small window into the photographic industries flourishing in India in the late 19th century and early 20th century.

Marking South Asian Heritage month, this blog explores how commercial photography took off in India in the 19th century and highlights photographers appearing in the copyright collection who were part of this story.

Read the full blog post here: https://blog.nationalarchives.gov.uk/early-photography-in-india-tracing-photographers-through-copyright-records/

Heritage Open Days taking place across British from 9-18 September 2022 include events relating to photography. The RPS is throwing open its building and holding a series of events around its own history;  Reading's role in the history of photography is explored, and Derby's W W Winter studio will be opening. 

Separately, the RPS is also running an Anthotype workshop on 17 September. Details here.

Take a look at these events and search for others here

The RPS events can be booked here: 

An enquirer is seeking information on the photographer Ted Reed, who did publicity stills for the 1955 Laurence Olivier film Richard III. Does anyone know anything about him or his studio? Two of his portraits from the 1940s are in the National Portrait Gallery collection.

Please respond here or message directly. 

Dr Grant Scott has announced that 12 August will be the first Bill Jay Day. Look out for articles, photographs and more to celebrate a remarkable man. 

#BillJayDay