On the occassion of the Wolf Suschitzky Photography Prize 2025 we are delighted to present a special event celebrating two exciting new photography book publications about Austrian-British émigré photographers, Edith Tudor-Hart and Wolf Suschitzky. Both publications include many photographs which have been published for the first time.

In their respective talks, presenters Kurt Kaindl (Salzburg), Stefanie Pirker (London) and Julia Winckler (Brighton) offer insights into the photographers’ visual archives, largely now held at FOTOHOF>archiv in Salzburg, and from which these two new publications extensively draw upon. Contextual biographies of the two siblings will foreground the strength and ongoing relevance of their photographic legacies.

This event also coincides with several current exhibitions including the Wolf Suschitzky Retrospective Exile and Journeys, Monschau, Germany (until 21 December 2025), and Through a Bauhaus Lens: Edith Tudor-Hart and Isokon, Isokon Gallery, London, which runs until November 2025.

BOOK LAUNCH - Edith Tudor-Hart: A Steady Eye in Turbulent Times & Wolf Suschitzky: Exile and Journeys
15 October 2025 at 1900
Austrian Cultural Forum London
28 Rutland Gate
London SW7 1PQ
Book here: https://www.acflondon.org/events/book-launch-edith-tudor-hart-a-steady-eye-in-turbulent-times-wolf-suschitzky-exile-and-journeys/

For the first time, you can explore the full breadth of the AmberSide film, photography and paper archive in one place. The catalogue is text-based, allowing researchers, students and the public to navigate the Collection’s themes, projects and stories. While the collective cannot publish most images online due to copyright restrictions, the catalogue provides an unprecedented window into the scope and richness of Amber’s work.

This milestone has been made possible through support from the National Archives and the Pilgrim Trust’s Archives Revealed programme, and represents the result of a full year’s dedicated work. Special thanks to our Project Archivist Mark Cordell, AmberSide Trustee Liz Rees, and an incredible team of volunteers.

This is just the beginning: the catalogue will continue to grow and evolve as more materials are documented and made discoverable. It forms an invaluable tool for anyone interested in documentary film, photography, and the social history of the North East and beyond.

See: https://amber.epexio.com/

Edinburgh's Stills Gallery has been given a collection of Creative Camera issues and memorabilia. The collection has donated by the former editor and documentary maker David Brittain who lives in Edinburgh. David has written extensively about photography magazines, and in 1999 he edited Creative Camera: 30 Years of Writing (Manchester University Press).

The donation to Stills's Library includes an almost complete run of Creative Camera (1968-2000) and most copies of the Camera Owner (1966-1968) which was a predecessor to Creative Camera. Also included is a complete set of DPICT/Creative Camera (2000-2001), a successor to Creative Camera which embraced digital printing technologies, in addition to copies of DPICT’s world-record breaking customised covers.

Over the years, Creative Camera was a unique depository of the work and writings of photographers including Raymond Moore, Jo Spence, Lewis Baltz, Robert Frank and many others. Under David Brittain publication became bi-monthly, and attracted a new crop of writers including Marina Warner, Rebecca Solnit and Geoffrey Batchen.

This collection can be consulted in person and also on the library’s online catalogue, where it is also possible to see all the images used on the front covers of the DPICT/Creative Camera launch issue. 

The V&A’s Royal Photographic Society (RPS) Collection holds around 290,000 photographs and transparencies. It includes early colour processes, hand-coloured albumen prints, and unique historical photographs — each with its own story.

As an RPS Cataloguing volunteer, you’ll help unlock these stories by studying the collection and gathering information to go on our public online database, Explore the Collections. As part of a team of volunteers and supported by staff, you will be key to ensuring the collection can be digitally discovered, understood and enjoyed worldwide, preserving this remarkable photographic heritage for the future.

Based in offices at V&A South Kensington, you will be asked to flexibly give one or two days a week (10:00-16:00). You’ll get the most out of the role if you can commit for up to six months, but we’re happy to consider shorter-term arrangements.

What you will be doing: 

• Using trusted sources at the V&A, research objects in the photographic collection to gather basic cataloguing information
• Record this information in Microsoft Excel to help make the collection digitally accessible
• Learn to handle collection objects with the support and training of our specialist team.

If you are shortlisted, you will need to attend an informal group session at V&A South Kensington on Wednesday 15 October from 2pm - 3.30pm. This is a chance to get to know us and find out more about the volunteer role. If you are invited to join the team, you will need to attend an induction session on Wednesday 22 October from 10am – 12pm.

Full details and apply: https://volunteer.vam.ac.uk/opportunities/97664-royal-photographic-society-rps-cataloguing-volunteer-2025-09-19

Considered one of the most important photo historians of the 20th century, Peter E. Palmquist (1936-2003) had a keen interest in the photography of the American West, California, and Humboldt County before 1950, and the history of women in photography worldwide. He published over 60 books and 340 articles and was a strong proponent of the concept of the independent researcher-writer in the field of photohistory. With co-author Thomas Kailbourn, he won the Caroline Bancroft Western History Prize for their book, Pioneer Photographers of the Far West. Professor Martha Sandweiss, Princeton University, wrote that Peter "established new ways of pursuing the history of photography, and with his collections and research notes soon to be accessible at Yale, he will be speaking to and inspiring new generations of students and researchers forever.” Established by Peter’s lifetime companion, Pam Mendelsohn, this fund supports the study of under-researched women photographers internationally, past and present, and under-researched Western American photographers through the Great Depression. 

A small panel of outside consultants with professional expertise in the field of photo history and/or grant reviewing will review the applications in order to determine the awards. Applications will be judged on the quality of the proposal, the ability of the applicant to carry out the project within the proposed budget and timeline, and the significance of the project to the field of photographic history. Past recipients and their projects are featured at palmquistgrants.com.

Range of Awards: $500 - $2,000

Funds must be used for research; grant funding may not be used to cover salaries, pay for books, hardware, or equipment, or for production costs such as printing and bookbinding, podcasts, blogs, etc. November 15, 2025 is the deadline for submissions. Grant recipients will be announced in mid-January 2026. If selected, recipients will be required to submit a digital copy of their work to HAF+WRCF, once complete. 

Eligibility:
Individuals and nonprofit institutions conducting research in either of the fields below are eligible to apply: 

• Under-researched women photographers internationally, past and present.
• Under-researched Western American photographers through the Great Depression.

Application and information can be found at The Humboldt Area Foundation

In August this year, a new organisation was founded, Vintage Photo Fairs Europe. On the initiative of Barnabé Moinard, promoter of the 24.39 Classic Photography Fair (Paris), Mila Palm, Reinhold Mittersakschmöller and Stefan Fiedler, promoters of Vienna Vintage Photo Fair, Eric Bos Waaldijk, promoter of Dialogue Vintage Photography (Amsterdam) and Michael Diemar, editor-in-chief of the magazine The Classic. Since then, two more fairs have joined the organisation, Bloomsbury Photograph Fair (London) and Fiera di Senigallia (Senigallia, Italy).

Barnabé Moinard explains, 'The growth of tabletop fairs in Europe in recent years has made the creation of this organisation and its platform an absolute necessity. These independent fairs already operate and interact with one another: this organisation and its platform will serve to unify the network, enabling more effective and impactful communication. Our ambition is to raise awareness about these fairs, spread knowledge about classic photography and hopefully inspire others to start tabletop fairs of their own.' The tabletop fairs attract both new and seasoned collectors, as well as curators from leading museums, but they fill important functions beyond commerce, as Barnabé Moinard points out, 'The world of photography has increasingly moved online and the fairs are among the few opportunities for the community of classic photography to meet up in the physical world to share their passions and exchange information and ideas.'

The website will launch a few weeks before the next edition of Dialogue Vintage Photography, which takes place on 20 September. Barnabé Moinard continues, 'The website is still quite basic. It has interviews with the promoters of the five fairs, a fair calendar, useful links, contact information and our social media details. Later in the year, we will add interviews with photography dealers and collectors, plus a section called “Collecting Matters”, covering a wide range a topics and practical information about photographic processes, how to take care of a collection and much else.'

The website also has a heading called 'Starting a fair?' Barnabé Moinard continues, 'We are inviting promoters of new tabletop fairs for classic photography to join as members, and it’s also an invitation for those who are thinking about starting a fair to contact us if they need practical advice about choice of venues, promotion strategies, etc. As fair promoters, we have built up a lot of knowledge over the years and we are more than happy to share it.'

The name Vintage Photo Fairs Europe makes it clear what the organisation is about. But why just Europe? There are tabletop fairs elsewhere. Barnabé explains, 'We decided that covering a larger geographical area would become too unwieldy. Vintage Photo Fairs Europe is a non-profit organisation, there is no membership fee, and the work is carried out on a voluntary basis by our members. We would welcome if fair promoters in other parts of the world started their own organisations, and we would of course be happy to collaborate with them.'

e: info@vintagephotofairseurope.com
w: www.vintagephotofairseurope.com

Image: 24.39 fair, Paris. Courtesy: Stefan Fiedler

The Haas collection, homed at the Library of Birmingham archives, consists of 258 boxes. This is made up of around 90 boxes of developed photographic prints, 93 folders of celluloid negatives, 45 boxes of glass negatives, and around 30 boxes of miscellaneous documents including invoices, letters, lecture notes and more. The collection is yet to be fully catalogued - at the moment, items are boxed, but more work is needed to re-organise them, highlight preservation needs, and digitise highlights. Supported by a National Archives https://www.nationalarchives.gov.uk/archives-revealed/cataloguing-grant/current-and-past-projects/2024-2025/ - 'Archives Revealed' cataloguing grant, Bertz Associates, in collaboration with the Library of Birmingham, aim for the collection to be fully catalogued and promote public awareness of Haas and her work.

We are looking for someone who is passionate about making archives more accessible to local communities and exploring what they can mean for people today. You must be willing to be an active member of the team, an enthusiastic collaborator, and excited to learn and share expertise with others.

We encourage applications from current students and recent graduates. If you do not meet all points listed below, we would still encourage you to apply and demonstrate your interest in developing those skills and learning.

The job is fixed-term, from November 2025 to September 2026, and part-time, you will work on average two days a week.
Role: Cataloguer for the Lisel Haas collection
Terms: Fixed Term contract, November 2025 - September 2026 
Salary: £27,000 - £35,000 (depending on experience) pro rata, two days a week (approx 82 days)
Other information: We are open to freelance proposals
Location: In-person role, Library of Birmingham, Centenary Square, Birmingham, B1 2ND
Details and apply: https://sites.google.com/bertzassociates.net/bertzassociatesltd/work-with-us

To oversee the archival management and curatorial understanding of the photographic collections of the University of Edinburgh, managed as part of its Heritage Collections, to internationally recognised standards. To improve finding aids and contextual information in collaboration with archivists, librarians and curators, and media specialists. To develop relationships with academic and local communities to share and disseminate content and research scope out work required for further understanding these collections and to lay foundations for future activity in this area.

Main responsibilities 

• Undertake a survey of photographic material to enable progression of cataloguing and management of the photographic collections in physical or digital formats to international standards such as ISO, and including digital preservation. Structure and disseminate any research findings in catalogue data, systems and in written and verbal form. (30%)
• Development of specialist collections knowledge such as understanding of the history of photographic processes and principles, by working with academic, technical, cultural or community partners to create, manage, teach with and evaluate collections-based collaborative and/or interdisciplinary projects. Manage interns and project staff that result from working with the Research Collections Discovery and Projects Team to develop grants and projects. (30%)
• Conduct collections-based or professional sector research which will further engender a research and collections culture within the Research Collections team and the wider University. (20%)
• Input into the curatorial development of the University’s Heritage Collections including new acquisitions, planning and policy development; working with relevant conservation and collections management staff to ensure that Accreditation standards are upheld in maintaining the security and preservation of the collection while facilitating access for researchers, students, and the public. (10%)
• Monitor professional developments and draw on expertise to represent and promote the University through knowledge and contributions to the heritage, cultural and engagement sector both nationally and internationally. (10%)

 This post is full-time (35 hours per week) fixed term contract for 36 months. However, we are open to considering part-time or flexible working patterns. 

 The salary for this post is £41,064 to £48,822 per annum (UE07).

Your skills and attributes for success:

• Postgraduate Degree in field of Archival, Library or Museum Management.
• Experience of managing photographic collections to internationally recognised standards.
• Ability to apply relevant knowledge, skills and techniques in research, discussion and dissemination.
• Excellent communication skills, including the ability to form and cultivate strong relationships with people from a wide variety of backgrounds based on credibility, trust and mutual respect. 
• Excellent written and oral communication and presentation skills, including the ability to explain complex topics simply and compellingly to non-specialist audiences.

Full details and apply here

The British photographer and Magnum member and former president, died on 8 September at his home in Japan aged 78 years. He was a member of the Exit Photography Group in the 1970s. 

His archive will be held with the Bodleian Libraries. 

We are the nation’s Archive of England’s historic environment.  We are everyone’s archive.  We commit to be open, relevant and reflective of all stories so we can better understand the historic environment and how it has shaped our rich and diverse cultural identities.  We curate a dynamic collection that tells the story of the shared memories and lived histories of places in England.

In this role, you will catalogue and manage engagement of the Janette Rosing Photographic Collection c.1853-1950s.  This unique collection of 8,436 original prints was the life's work of respected collector Janette Rosing, who specialised in photography from the 1850s onwards.  

Project Officer (Janette Rosing Collection)
Historic England
Swindon, full time, fixed-term contract for 15 months
Follow the link for a full copy of the job description and application

BPH reported on Historic England's acquisition of the Janette Rosing Collection here.

A new initiative for 2026, the CCA’s Photography Research Fellowship Program supports advanced research to reexamine the spectrum of interactions between photography and architecture and our photographic holdings.

The CCA holds one of the most significant photography collections in North America. Founded in 1974, before the formal establishment of the CCA, the collection has been integral to the development of new understandings of the relationship between photography and architecture and to establishing this relationship as a distinct field of visual and historical scholarship. It is rich in names and images canonized in traditional histories of photography as well as in unpublished works and series by understudied or unidentified photographers. The collection’s roughly 65,000 photographs document their subjects—buildings and building sites, infrastructure works, archeological sites, built environments and their inhabitants, landscapes, architectural details—but also, crucially, reveal the subjectivities of their photographers and the historical conditions in which they worked. While the subjects and photographers represented are mainly Western, the collection includes thousands of photographs made across Asia, in North Africa, and elsewhere, primarily in the context of nineteenth-century European and British expansionist aspirations and colonial rule.

For the CCA Photography Research Fellowship’s inaugural year, we seek applications from researchers investigating any aspect of nineteenth-century photography—the most substantive part of the collection—as it intersects with the natural and built environment. We are particularly interested in the role of photography in visual and architectural culture, especially in relation to evolving technologies; the relationship between photography and the environment; and the functions of photographs in imperialist frameworks. Proposals may address materials held in our archives and library as well as our photography collection. Photographs in a variety of formats can be found across all three of these collection areas.

Photography Fellows are offered a residency at the CCA between June and August for a period of one to two months, with the goal of creating a community of researchers on site, particularly alongside our Research Fellowship Program, Indigenous-led Design Fellowship Program, and Doctoral Research Residency Program. Each Fellow will receive a monthly stipend of CAD 5,000, as well as additional financial support for travel expenses.

We welcome applications from photographers and artists with a research-driven practice, researchers from all disciplines whose current projects are oriented specifically toward photography, and historians of photography and image making. This program builds on The Lives of Documents—Photography as Project, which was the first of a projected trilogy of research and exhibition projects exploring the medium of photography as a means to investigate the built environment.

For full details and to apply see: https://www.cca.qc.ca/en/100679/cca-photography-research-fellowship-program

The University of St Andrews is applying to the Recognition Scheme to have the photography collection formally recognised as being of national significance. The Recognition Scheme (administered by Museum Galleries Scotland) is an opportunity for non-national museums, galleries and heritage organisations to officially have their collections recognised as being of equal quality and importance as those held by national bodies. 

As part of the process, applicants are required to submit letters of support from people who know the collection and can vouch for its importance and quality.  Laura Brown, Curator, Photography, is seeking your support by writing a letter in support of the application. Because of the breadth of the photography collection which numbers some 1.5 million photographs the application will focus on three themes which are particularly strongly represented:   

• Early photography (defined loosely as pre-1860)
• Scottish landscape
• Scotland at home and abroad

If you have used the photography collection at St Andrews and feel able to write a one page letter of support in 12pt Laura would be pleased to hear from you. The letter might simply be a list of lectures or publications that reference the St Andrews collection.  

The application guidance asks for certain information to be included in the letter: 

• How, when and where you encountered the collection
• Why the collection is important to you, your field of research, or your community. 
• Reference to a particular aspect of the collection which you find particularly significant. 

To allow Laura time to assemble everything before the final application deadline, she would ask for the letter to be with her by 25 October 2025. The letter can be sent by email (as Word of PDF file) to her at lb317@st-andrews.ac.uk or by post to:  Laura Brown, Wardlaw Museum, 7a The Scores, St Andrews KY16 9AR. 

See more of the collection here: www.st-andrews.ac.uk/collections  

Image: Thomas Rodger (attr), Bronze Age Pottery Urns found at Law Park, St Andrews, 1859. Courtesy of the University of St Andrews Libraries and Museums, ID: ALB-49-51-1

As part of the 2025 Photo Oxford Festival historian Dr Rose Teanby will be talking about the life of Constance Talbot, wife of William Henry Fox Talbot. Recent research into artworks and photographs from the Bodleian and British Library Talbot collections throw a new light on her status as one of the earliest women photographers in Britain. Drawings from her family home in Derby, sketches at Lake Como and watercolours of Lacock Abbey show Constance's lifelong dedication to art. Re-creating her first documented photograph also brings a twenty-first century insight into the challenges she faced as an early photographer. Combining her preserved letters with artworks and photographs brings us closer to the truth about Constance Talbot's unique place in photographic history.

Constance Talbot, early photographer and lifelong artist
Dr Rose Teanby
Wednesday 5. November at 1300-1400 (UTC)
£5 (in person); £2 (concessions and online)
Live: Sir Victor Blank Lecture Theatre ,The Bodleian Library, Oxford and Online
Book here: https://fienta.com/rose-teanby-talks-about-constance-talbot-early-photographer-and-lifelong-artist

Check out Photo Oxford Festival and other talks and events here: https://www.photooxford.org/home

Image: Portrait of Constance Talbot, from Bodleian Librararies, MS WHF Talbot photogr 27.  

Rose Teanby has produced a short blog about Anna Atkins's visit to Chatsworth in 1851 and her cyanotyping of ferns. The blog connects to the current Chatsworth exhibition The Gorgeous Nothings: Flowers at Chatsworth which is on view until 5 October. The exhibition is showing a borrowed copy of Photographs of British Algae, Cyanotype Impressions by Anna Atkins in the Oak Room at Chatsworth (see photo above) and previously reported on by BPH. 

Read the blog here: https://www.chatsworth.org/news-media/news-blogs-press-releases/anna-atkins-at-chatsworth/

Photo: Rose Teanby / Chatsworth.

Surrey had many psychiatric and learning disability hospitals, and their archives inform our understanding of historic attitudes to mental illness, epilepsy, and a wide spectrum of learning disabilities.  Medical case notes telling the personal stories of thousands of people, young and old, who were admitted to these vast institutions are often accompanied by a photographic portrait of the patient, bringing us face to face with a person long dead through the emulsion held in negative on a fragile glass plate or sepia image captured on paper. 

Often taken on admission to the hospital, we see them at a particularly vulnerable time in their lives and their gaze both challenges and resonates with us through shared emotions and experiences. They are an important resource for the history of asylum photography, shedding light on the history of mental health, the social background of patients and the approaches to care and treatment provided by different institutions in Surrey over more than a century.

Picturing the Patient: Photography in Surrey Hospitals, 1850-1960
Online, 8 October 2025, 1730 -1845      
Cost: £6 - book this event

Image:  Hugh Welch Diamond, Patient, Surrey County Lunatic Asylum, 1850–58 / Metropolitan Museum of Art, New York

The Terra Nova, the ship immortalised by Herbert Ponting, has been filmed for the first time since it sank in 1943. The ship which was resdiscovered in 2012 carried Captain Scott's doomed polar expedition in 1912. The BBC's report used Ponting's images but failed to credit him, only the commercial picture libraries and collections housing his work. Ponting died in 1935 and his work is out of copyright, but deserves credit for creating images that retain their power today. 

See: https://www.bbc.co.uk/news/articles/cpwyvyqkx9yo

Image: Herbert G. Ponting, Terra Nova Icebound, 1912.     

Autograph is looking for an experienced curator to work with our collection and our contemporary exhibition programme, which focuses strongly on photographic practice and engages with audiences in the UK and abroad.

We strongly encourage applications from global majority* candidates who are underrepresented in curatorial roles within the gallery and museum sector. Global majority in this context refers to people who identify as Black, Asian, mixed and/or have been racialised as ‘ethnic minorities’; these groups represent over 80% of the world’s population.

Based at Rivington Place, in Shoreditch, London which houses our two public project spaces, a learning studio and our specialist photographic collection, you will:

• Develop and deliver selected aspects of Autograph’s artistic programme which includes: exhibitions, publications, commissions, residencies, collection displays, and digital programmes.
• Identify options in Autograph’s photography collection to engage other institutions in partnerships locally, nationally and internationally.
• Contribute to realising Autograph’s strategic and business development objectives: key stakeholder engagement, development and income generation.

This is a new role and is initially offered for a three-year fixed term, with potential to renew – subject to resources available. It is suitable for someone who has gained experience in curatorial practice already, and who is interested in taking the next steps towards developing broader organisational leadership experience, in a medium-scale visual arts organisation. We are looking for someone who identifies strongly with our values and mission, has extensive knowledge of contemporary commissioning and exhibition practice, a genuine desire to engage with collection research to produce new projects and a particular interest in curating photography.

Details and apply here: https://autograph.org.uk/blog/news/were-hiring-curator/

Jane Wigley, one of Britain´s first female photographers, and the first to open (in 1845) a portrait studio in boomtown Newcastle, is today, as she was then, disregarded as a footnote. The pictures she took appeared lost, her life´s story without bookends. New research however illuminates the unique shaping behind Jane Wigley´s character– for the soldier´s daughter had spent much of her childhood in the company of a robot, an invisible girl, and an apparition with bright pink eyes, before coming out into the world herself as a nightingale. Indeed, Jane Wigley enjoyed a full, even brazen life before devoting her energy to the world´s newest wonder, photography.

In his presentation, Kelvin Wilson will present to the Newcastle audience several portraits now believed to have been taken by Wigley in the town, 180 years ago.

Kelvin Wilson is an archaeological illustrator working for museums and publishers. Research into early photographers led him, amongst others, to catalog the life and work of John Sherrington, a calotypist who like himself once emigrated from northern England to the Netherlands.

Little Woman: The Art of Being Jane Wigley, Newcastle’s First Photographer
Kelvin Wilson
Live: 29 September 2025, 1800-1900
Newcastle, Lit & Phil
Details and booking: https://www.litandphil.org.uk/event/little-woman-the-art-of-being-jane-wigley-newcastles-first-photographer/

Our people are at the heart of National Museums Liverpool. Colleagues from across the NML team make a difference every day, creating memorable experiences for everyone and challenging expectations. We pride ourselves on being a place for everyone, but we are always aiming higher, aspiring to be representative of the communities we serve. Through our people, we are building a culture which embeds trust, respect and inclusion and an organisation in which people are engaged and empowered to enable National Museums Liverpool to evolve. You could be just the right person to join us.  

We currently have the post of Curator of Photographic Collections (Maternity Cover) available.

Reporting to the Lead Archivist (Maritime & Slavery Collections), the Curator of Photographic Collections will be responsible for managing and developing the Maritime Museum’s internationally significant photographic collections, ensuring they are accessible and impactful both in Liverpool and beyond.

Given the scale of the collections, strong collection management skills are essential. These collections are exceptional, and we are committed to increasing their visibility and use — so the role requires a proactive approach to promoting, facilitating, and encouraging engagement with the material in diverse and creative ways.

As a key member of the Archive team, the postholder will contribute to all aspects of its work. Familiarity or interest in areas such as copyright and digital preservation will also be important, and the postholder will be expected to lead on the submission of a funding bid for a digitisation project.

Curator of Photographic Collections (Maternity Cover) 
Location: Liverpool
Salary: £33,778
Contract Type: Temporary
Position Type: Full Time
Closing Date: Thursday 25 September 2025 at 12 noon
Details here

Hot on the heels of The National Archives 2025 cataloguing grants is news of its 2025 scoping grants. One of the recipients is Edinburgh's Stills Centre of Photography which will be using its award to preserve and increase access to its archive as it approaches its fiftieth anniversary in 2027. 

Stills Centre for Photography, established in Edinburgh in 1977, was the first gallery in Scotland dedicated to photography. Stills is working to preserve and increase access to its archive – a unique collection documenting almost 50 years of photographic exhibitions, artist collaborations, and the evolving role of photography in Scotland and beyond. The archive includes prints, films, posters, artist correspondence, and audio-visual materials, much of which remains undigitised.

Opening this collection will enhance public engagement, highlight key photographic milestones, and inform future programming ahead of Stills’ 50th anniversary in 2027, fulfilling the founding vision to preserve, share, and celebrate the history of photography for generations to come.

Vivienne Gamble, Director, says: “as we approach the 50th Anniversary of Stills, this Archives Revealed scoping grant provides us with a timely opportunity to unlock the potential of an exciting collection which can be shared with public audiences and researchers in the future. As one of the few dedicated public spaces for photography in the country, the narrative of our gallery, the artists and the staff who have shaped it serve as an important parallel history of photography in Scotland and the UK from 1977 to the present day. We are very grateful for the support to get this important project off the ground.”

See: https://www.nationalarchives.gov.uk/archives-revealed/scoping-grant/current-and-past-projects/#2025
https://stills.org/

Image: Michael Pritchard