Helmut Newton (1920-2004) was one of the most singular and successful photographers of his generation, known for his provocative fusion of fashion, portrait, and erotic subjects.

Philippe Garner, a 50-plus years veteran of the art auction world, has admired Newton’s work since he discovered it in the late sixties.

He met Newton in 1975 and enjoyed his friendship until the photographer’s death in 2004. Now Vice-President of the Helmut Newton Foundation, he looks back on Newton’s life and work in response to questions from David Breuer, Chief Executive of the Ben Uri Gallery and Museum.

Immigrants and their Art: Helmut Newton: Living to make pictures
In conversation with Philippe Garner
Tuesday 17 May, 6.30 pm BST via Zoom
Book: https://www.trybooking.com/uk/events/landing?eid=27679&

Although not photography, the related optical instruments of the microscope and telescope presented new ways of seeing, as did the camera. In the seventeenth century, human vision was technologically enhanced with the invention of the telescope and then of the microscope. Scenes of wonder emerged as the assisted eye traversed the night skies or delved into the fabric of the minute new stars and planets appeared at the end of Galileo’s tube and entire oceans were discovered in a drop of vinegar.  

This talk examines the effect of the telescopic and microscopic gaze upon English poetic production in the seventeenth and eighteenth centuries. Tapping into archival and previously neglected sources as well as more famous literary works, the talk discusses the responses of wonder, satire, and philosophical reflection in both English and Neo-Latin verse on ‘Optick Glasses.’  

From an elephant turned mouse to a louse turned monster, these poems evince preoccupation with bodily forms and Ovidian transformations. Inspired by the Muse of the Lens, contemporary poetry thus expands and moulds its imaginative worlds, revealing its inextricable link with science in the period. 

The Muse of the Lens: Microscopes, Telescopes and Poetic Imagination in 17th- and 18th-century England 
19 May, 1700 (CEST) | 1600 (BST)
Ivana Bičak – University of Durham 
Centre for the Study of Medicine and the Body in the Renaissance (C S M B R) 
The event is free to attend but registration is required here

The archive of Elisabeth Buchmeyer Lewis (1935-2018) has been acquired by Hundred Heroines which will be staging a first look at it in June. After studying at the London College of Printing, Elisabeth soon gained a reputation as a modernist photographer.  By the time of her death in 2018, she had created a vast collection of images with immense social, political, and aesthetic value.

From rock stars to classic cars, Elisabeth’s photographs chart the course of an astonishing career. Beyond the allure of London’s music scene and the Morgan Motor Company, Elisabeth recorded the working lives of women, and artistically reminisced about her German childhood.

According to Katherine Riley 'She leaves behind an archive which forms a distinctive and fascinating view of a post-war world of optimism and rapid change.' 

A first-glimpse-into-the-archive show at the Heroines Hub in June. If you knew Elisabeth and would like to share a memory (either recorded or written) contact:  hello@hundredheroines.org

https://hundredheroines.org/historical-heroines/elisabeth-buchmeyer-lewis/

What is the shape and size of a photographic history that is written from the point of view of having no photographs? When photographs are destroyed, lost, repressed, or never intended to be permanent, it leaves a gap in what we usually refer to as our main research material.

By chance or by design, photographs disappear every day. They might be destroyed, or lost, or designed to fade. They might be rendered undiscoverable through complicated bureaucracy, secrecy, or algorithms. Contemplating the space left without photographs, a veritable foil to the enormity of the image archive, can enrich our understanding of photographic history and methodology.

In this 10th annual conference of the PHRC we will feature papers interrogating photographic histories that are not image led; photographic histories that excavate imageless histories. Each of these will consider topics that address themes like:

• Disappearing or fading photographs by design or by accident
• Histories of archival findings and losses
• Suppression of photographs
• Photography as auxiliary to other things
• Historiographical considerations of a photography without images
• Methodological innovations to reconstruct photographic cultures when images are not available, or never were
• Photographs rendered as data

Photographic History Research Centre (PHRC)
Leicester and online
13-14 June 2022
Details, programme and registration: https://photographichistory.wordpress.com/annual-conference-2022/

Today, Historic England has launched an interactive education tool which will display hundreds of images of the Queen visiting key heritage sites across England during her reign. The story map resource has been created by Historic England’s Heritage Schools team to celebrate the Queen’s Platinum Jubilee and will help school children learn about some of the significant places she has visited in their area of the country.

Funded by the Department for Education and run by Historic England, the Heritage Schools programme aims to help school children learn about their local heritage and its significance.

From opening important civic buildings like town halls and schools, to visiting museums, sports grounds and pubs, the map shows the huge variety of heritage sites the Queen has visited both during and prior to her reign. The story map not only teaches children about the Queen’s role as our monarch, but also highlights the heritage she has visited that is right on their doorsteps.

The story map is available to everyone via the Historic England website, and features images of the Queen visiting significant buildings, places and events in every region of the country. Alongside these images there is information about when and why the Queen visited, as well as a brief history about the site itself.

Many of the buildings are listed on the National Heritage List for England (NHLE), and children and the public can take part in the Platinum Jubilee commemoration, and make history, by contributing their own images, drawings or information about the building to the NHLE through Historic England’s Enriching the List project.

Duncan Wilson, Chief Executive, Historic England said “This interactive map shows the incredible variety of sites the Queen has visited in the past 70 years. We hope schools, teachers, parents and the wider public will explore the map, discover more about their local historic sites and follow in the Queen’s footsteps by supporting their local heritage.”

Image: (top): The Queen about to embark from Heathrow Airport with her Corgis for her annual holiday at Balmoral in 1981. Heathrow Airport originally opened in 1946 as London Airport. The headquarters and engineering workshops for the British Overseas Airways Corporation, now British Airways, were built between 1950-55. Engineer, Sir Evan Owen Williams, who also designed the original Wembley Stadium, envisaged a flexible building that would adapt to the needs of the aviation industry. The Queen has owned Pembroke Welsh Corgis since she was a child and has had more than 30 since she began her reign in 1952. (lower): The Humber Bridge was officially opened by the Queen on 17 July 1981. The bridge took eight years to build and over 1000 people worked on its construction, which cost £91 million. When it was first built it was the world’s longest single-span suspension bridge and it remains the longest in the UK. People had campaigned for a bridge for over a hundred years as the Humber Estuary was a barrier to trade and transport. The bridge is a total of 2,200 metres (1.4 miles) long, the towers are 155.5 metres (510 feet) tall, and the wire used in the bridge would wrap around the moon more than six times. It is estimated that more than ten million vehicles cross the bridge every year. In 2017 is was given Grade I listed status

On 10 May 1897 Isabella Bird was engaged to lecture on Western China at the Royal Geographical Society in London. Jacki Hill-Murphy who has recently published The Life and Travels of Isabella Bird will recreate this lecture, using some of the original magic lantern slides, and talk about the rest of Isabella's solo world travels and how she survived many dangers.

Jacki Hill-Murphy, who has recently published The Life and Travels of Isabella Bird, will recreate that lecture, using some of her original magic lantern slides and talk about the rest of Isabella’s solo world travels and how she survived many dangers.

Jacki is an explorer, teacher, author and speaker. She has spent the last 10 years researching female explorers of the 18th and 19th centuries and recreating their expeditions.

This event has been organised by the Royal Geographical Society's West of England and South Wales committee.

Isabella Bird's magic lantern slides from China
Jacki Hill-Murphy
12 May 2022 from 1930-2100
Live or online: BRSLI, 16 Queen Square, Bath, BA1 2HN
See: https://www.brlsi.org/whatson/isabellabird/

A new exhibition titled The other Shakespear, which brings to life some of the earliest and finest images of the Arabian Peninsula is being launched this month at the Royal Geographical Society on Exhibition Road. This is the first time these photographs have been on public display for more than a century.  The photographs taken by Captain William Shakespear (1878–1915) show both the changing and unchanging nature of this extraordinary landscape and its people. 

Captain Shakespear was a man of enterprise with a fearless love of exploration. He was a soldier by training, a diplomat by profession and an amateur photographer, botanist and geographer by inclination. He explored, photographed and mapped large tracts of Northern Arabia in the early 19th century and, because of an extraordinary friendship with Abdulaziz ibn Saud, later King of the Kingdom of Saudi Arabia, Shakespear became a vital and unique intermediary between Britain and the Arab world before and during the early days of World War 1. 

Some of the glass slides will also be on display. Captain Shakespear’s maps, notebooks and photographs belong to the RGS collection. 

In the desert, Shakespear used a large plate camera adapted to take panoramas and a No.1 Panoram-Kodak. This was portable and could store several panoramas on a single film roll. Later, Shakespear also used a small folding camera made by Houghtons Ltd., then the largest camera manufacturer in Britain. The Ensignette took film roll and was robust and rust-proof. Its popularity led to a new breed of amateur photographers, known as the ‘Pocket Snap Shooters’.  

Photographic equipment was an essential part of Shakespear’s expedition equipment, and also included a Kodak Tank Developer, used to process negatives, often in extremes of temperature with limited water supplies. The remarkable results place Shakespear amongst the most important early photographers documenting life on the Arabian Peninsula.  

The Other Shakespear Exhibition  
10 am to 5.30 pm - 10 May to 6 June 2022
Free entry, The Pavillion, Royal Geographical Society (with IBG), Exhibition Road, London SW7
https://www.rgs.org/events/summer-2022/the-other-shakespear/

The Paul Mellon Centre for Studies in British Art has made its Spring 2022 awards. Of particular interest to photographic historians are:

Mid-career Fellowship and Research Support Grant: 

• Justin Carville (Institute of Art, Design & Technology, Dun Laoghaire) for the project The Ungovernable Eye: Photographies of Race and Ethnography in Ireland

Research Support Grant: 

• Tania Cleaves towards research costs for the project Sun, Sex and the Senses: Nudist Photography in Britain, ca.1930–1960
• Murdo Macdonald towards research costs for the project C.T.R. Wilson’s Cloud Chamber Photographs

Event Support Grant :

• De Montfort University to support The State of Cultural Diversity in British Photography: Artistic Literacy, Educational Access and Institutional Policies conference to be organised by Gil Pasternak (Photographic History Research Centre - PHRC) in partnership with the Midlands-based community interest company Black Country Visual Arts (BCVA) and the ReFramed network.

See more here: https://www.paul-mellon-centre.ac.uk/fellowships-and-grants/awarded/spring-2022/page/1

The latest issue of The Classic - the biannual magazine of photography - has just been published in time for Photo London. This issue (no. 7 Spring 2022) features several articles of particular interest to BPH readers including a look at the Getty Archive in London, an interview with Julian Sander of the Sander archive, and the Musée du Quai Branly Jacques Chirac comes under the spotlight. In addition, the website also carries new features on photo-historical subjects. 

Download the magazine for free here: https://theclassicphotomag.com/  

Stereoscopy Day is an international celebration of the birth of stereoscopic 3-D. It celebrates the inventor of stereoscopy, British polymath Sir Charles Wheatstone, its pioneers and their successors up to the present day, its long history from its first Golden Age and subsequent periods of popularity, its rich diversity and multiple uses in various fields, as well as the sheer immersive magic it brings to any photograph and other applications.

Stereoscopy Day will be celebrated across the world every year on June 21st, which is the anniversary of the day in 1838 when Sir Charles Wheatstone officially presented his stereoscope to the Royal Society of London and demonstrated his theory of binocular vision. A more portable version of the stereoscope was later popularised by Sir David Brewster.

The idea of Stereoscopy Day was sparked on the official 180th birthday of stereoscopy, June 21st 2018, at King’s College London, with the talk “Professor Wheatstone, the inventor of the Stereoscope, was also there“. Sir Charles Wheatstone was the first appointed Professor of Experimental Philosophy at King’s College London, and the University holds the Wheatstone Collection.

Stereoscopy Day can be honoured in many ways to promote the history and present uses of stereoscopy. These can include sharing stereoscopic 3-D related posts on social media, such as stereo photos you’ve taken yourself or highlighting stereoscopic treasures within collections (don’t forget to add #StereoscopyDay), talks, presentations, meetings, interactive displays, workshops, exhibitions or special discounts.

Read more here: www.stereoscopyday.com

The Martin Parr Foundation is holding a seminar day to launch a new major publication from Gerry Badger,  Another Country, British Documentary Photography since 1945  (thames & Hudson) which showcases the social and cultural history of Britain since the Second World War. Organised chronologically, each chapter spans a period of social and cultural history, focusing on the major photographers, figures, institutions, publications and galleries that shaped the photographic climate of that time.

The seminar day will consist of a series of talks from photographers who are represented in the book, followed by a panel discussion. The day includes: 

• Introduction, with Martin Parr and Gerry Badger
• John Bulmer
• Hannah Starkey
• Sunil Gupta
• Elaine Constantine
• Panel discussion with Olivia Arthur (photographer and president at Magnum Photos), Gerry Badger (writer), Sunil Gupta (photographer), David Hurn (photographer), Alona Pardo (curator, Barbican) and Martin Parr (photographer).

For details and to book click here: https://www.martinparrfoundation.org/events/another-country/

Image:  Manchester by John Bulmer / Popperfoto. Featured in The North, published by Bluecoat Press.

The latest number of the Science Museum Group Journal (Spring 2022) includes a paper by Efram Sera-Shriar titled Photographic plates and spirit fakes: remembering Harry Price’s investigation of William Hope’s spirit photography at its centenary. 

Access is free here: http://journal.sciencemuseum.ac.uk/browse/issue-17/photographic-plates-and-spirit-fakes

After 15 years of campaigning The Cinema Museum’s future looks bright. At last we have a chance to secure a permanent home for the Museum and save a well-loved, unique heritage building (The Lambeth Workhouse, once home of Charlie Chaplin). We are thrilled; we can’t wait to buy it, mend it and share it with those who love cinema, film, creativity, architecture, stories, memories and all the good that comes from positive social change, pro-environmental behaviour and caring communities.

BACKGROUND
Since 2007 The Cinema Museum has campaigned to secure a permanent home at The Master’s House, London SE11, Lambeth, just over the Southwark border. With no rights to renew, changing landlords, short annual leases that restricted access to grants and ongoing threats that our home was to be sold to the highest bidder – it was a long, hard, stressful slog. But its over…well, almost!

THE FUTURE
We just signed a 4-year lease with our landlords, Anthology (part of the Lifestory Group) – with an option to purchase the Master’s House buildings for £1 million at any time over the next four years. That might not seem much to raise in 4 years, but the buildings need MANY millions spending on them – so we have 4 years to raise a LOT of money – but we are reenergised, reinvigorated and with your help, we will do it. So - to the essence of this statement – our deep, respectful thanks.

We are grateful to Anthology (part of Lifestory Group) for giving us the legal certainty we need to save both The Cinema Museum and The Master’s House buildings. We are grateful to the Mayor of London and the GLA who were supportive of the Museum throughout. We are grateful to both officers and politicians at Lambeth Council, who provided over a decade of kind help and support in getting the Museum to this stage. We are grateful to officers and politicians at Southwark Council who also took us under their wing. We are grateful to Art Fund for emergency funding during Covid. Thank you to all our local partners in Lambeth and Southwark for everything you do for us. And - Museum Development London (funded by Arts Council England and Art Fund) who have expertly advised and supported us for over a decade, THANK YOU!

BUT they are organisations, not people, so thank you all, so much, every one of you who has stood up for us, signed our 62,000+petition and donated to our £100k+ crowdfunders. Thank you to our visitors, neighbours, friends and most importantly - our amazing, giant-hearted and hard-working volunteers - past and present. Thank you all for your pro bono advice; your work; your time; your money. Thank you for your generosity, kindness, encouragement, trust and belief. Thank You EVERYONE - this success has got your name written all over it - we will never forget.

Want to help us make this happen? You can make a donation at https://tinyurl.com/5wttnepe
We’d love to hear from you info@cinemamuseum.org.uk

Visit the museum website: http://www.cinemamuseum.org.uk/

The National Stereoscopic Association is happy to announce plans for a live convention and is seeking scholarly papers on the history of stereography for our third annual 'Sessions'.

Presentations are welcome on any aspect of stereo-media from the inception of stereoscopic photography to contemporary virtual and augmented reality. Topics include but are not limited to: historical and archival research; studies on collecting and the culture of stereography; marketing and incorporation; intersectionality; immersive media, interactivity and performance; stereoscopic perception; 3D cinema and virtual reality; instrumentality and simulation. Papers on topics from the nineteenth to the twenty-first century are invited.

Presenters may choose to present live or via a pre-recording. Please use the link to upload an abstract of 500 words, a biography of 250 words, and contact information:

Call for Papers

The National Stereoscopic Association’s: Sessions on the History of Stereoscopic Photography III
at the 48^th Annual 3D-Con, The Hotel Murano, Tacoma, Washington, August 5, 2022.  https://3d-con.com/?id=nsa_3d_con_menu

Deadline for submissions: May 15, 2022.

Please be aware that conditions may change with COVID-19. Applicants for the “Sessions” and attendees are encouraged to check the website for the convention for updates: https://3d-con.com/?id=nsa_3d_con_menu

Flints Auctions are to offer a 'pre-production' Compass camera 1936/37, with the serial number 1015. The camera, also known as the Compass I, was withdrawn after its initial public offering and buyers offered the redesigned Compass II camera.   The Compass camera was the brainchild of the maverick designer and politician Noel Pemberton-Billing and manufactured by Le Coultre et Cie. According to the auctioneers this is the first time a Compass I has been offered at auction and it is estimated at £12,000-18,000. The sale takes place on 23 April 2022. 

The Compass I differed from the Compass II in the following respects:  

• This camera is 3mm shorter and 3mm less thick than the version II
• The lens has no name or data
• The lens cap is separate and not attached The 'Le Coultre' name does not appear on the outside of the camera
• No lens cap depth of field calculator
• More flush spirit level
• There is no hinged magnifier
• The swivel mount is for a small screw
• No option for cable release
• The wheel on the front is engraved 'Shutter Winder'
• Inside the back is engraved 'World Patents Pending' Back engraved 'Compass Cameras, London. Pemberton Billing, Patents/ Manufactured for the Licencees' - No mention of LeCoultre

The differences and best description of the Compass camera was given by Dave Todd in a series of articles in Photographica World. 

See the full description here: https://www.flintsauctions.com/auction/lot/lot-99---a-pre-production-lecoultre--cie-compass-camera/?lot=14329&so=0&st=Compass&sto=0&au=38&ef=&et=&ic=False&sd=0&pp=50&pn=1&g=-1

The Optilogue is a blog that explores historical visual media, especially those with an ‘optical’ element – including magic lanterns, early cinema, dimensional picture books, stereoscopic images, zoetropes, early flip books, anamorphics, peepshows and transparent dioramas. Art, Science, Technology and Sociology. Included are historiographic musings, original research, investigations into visual perception, intermedial studies, and scrutiny of received wisdom in these fields. It is written by Stephen Herbert who describes it as an 'independent and free source of new research in the fields of historic optical media: for academics, collectors, media archaeologists, private researchers, and anyone else interested in these engaging subjects'.   

Sign up for updates and to see more here: https://theoptilogue.wordpress.com/about-this-blog/

The 13th edition of PhotoIreland Festival proposes a conversation ‘On the History and Practice of Photography in Ireland’ through a programme of exhibitions and events running from 7July to 28 August. In this context, a series of Think Tanks are being hosted to tease out the complexities of the History as much as of the discipline. 

Proposals are invited for a day workshop on photographic histories of Ireland in the twentieth century. The workshop proposes to explore histories of photographic practices, technologies, exhibitions and archives from 1910 to 1990. There is no prescribed theme and the scope of proposals are open to any aspect of photographic culture, and proposals for focused case studies of specific photographers and/or images are welcomed along with broader thematic papers that may critically asses methods and methodologies of the historiography of photography in Ireland across the period of partition and its aftermath or take a comparative approach to the photography and its histories.

Proposed papers do not have to follow any formal approach or methodology and can be focused on the historical or sociological aspects of photography and its uses, photographic forms and aesthetics, institutional uses of the photographic image and their archivisation. Proposals are welcomed that address the cultural politics of the photographic image in state formation from the period of partition alongside papers that explore hidden or unexplored histories of photography throughout the twentieth century. Proposals may not focus solely on Irish photographers and proposals that explore international photographers working in Ireland or Irish photographers working in any geographical location are encouraged.

This workshop is convened by Justin Carville in collaboration with PhotoIreland and proposals of 300 words with a short bio should be submitted via email attachment to photoireland.call.2022@gmail.com no later than 20 May 2022.

Full details and possible themes are here: https://edu.photoireland.org/research/think-tank-on-histories-i/

Three-colour photography is the basis for most colour photographic technologies nowadays, so why does its multifaceted history, especially at the turn of the last century, remain ignored by historians?

This online symposium complimenting PhotoResearcher No.37 delves into key technological, cultural and political questions pertaining to this medium in its various historical manifestations. Speakers will address issues of the scientific use of three-colour photography, its iconic protagonists, and its most representative imperial and colonial expeditions. They explore the multitude of photographic processes the term “three-colour photography” encompasses, ranging from Color Paget, Sanger-Shepherd, Miethe's System, Bleach-Out methods etc. along with the material and epistemological conditions which engendered them.

This Symposium seeks to remedy the historical and theoretical vacuum around three-colour photography, opening exciting avenues for subsequent research and enabling more sensitivity towards the presence of colour photography in museum archives.

This conference is free of charge for attendees and all presenters have been offered an honorarium. This is made possible thanks to the financial generosity of the Photographic Historical Society of Canada.

An international Symposium of the European Society for the History of Photography (ESHPh), in cooperation with the Photographic Historical Society of Canada (PHSC), and Dr. Hanin Hannouch (Weltmuseum Wien) accompanying the publication of PhotoResearcher No. 37: "Three-Colour Photography around 1900" (guest-edited by Hanin Hannouch).

Technologies, Expeditions, Empires: Three-Color Photography around 1900
Online, Friday 29th April 2022, 1300 (EST) | 1800 (BST) | 1900 (CET)

Details and register here: https://www.eventbrite.ca/e/technologies-expeditions-empires-three-colour-photography-around-1900-registration-256104404167?aff=erelexpmlt

Charles Miller Ltd is offering two lots linked to Herbert Ponting. First up is lot 247 a Beck No. 3 Universal Telephoto lens no. 102233 in a leather case which is embossed H.G. PONTING, F.R.G.S. The second lot, 248 is a photograph [Chris] A sledge dog listening to the gramophone with an official edition label numbered 109/400.  The Gramophone Co. gave Scott a Monarch Senior machine, the top model of the day, along with several hundred mainly single-sided shellac records. In this image, Ponting revisits the famous Dog and Gramophone trademark which had been adopted in 1909 by the Gramophone Co. which was then renamed His Master's Voice.

Both are offered in a specialist Maritime and Scientific Instrument auction on 26 April 2022. 

See:https://www.charlesmillerltd.com/auction/search/?st=ponting&sto=0&au=57&w=False&pn=1

An important collection of early colour photography has been donated to the V&A Museum where it will join significant bodies of similar material, notably within the RPS Collection, held at the museum. The V&A has recently announced a PhD studentship in partnership with the University of Liverpool to examine early colour and contexts in Britain from the 1890s to 1935.

The collection was formed by Colin Axon and covers the period c1895 to 1940. It consists of some 1000 items and includes colour work from such luminaries as the Lumière brothers, Otto Pfenninger, Helen Messinger Murdoch, Olive Edis, Arthur Grenier, Hugh C. Knowles, Vero Charles Driffield, Arthur E. Morton,  Arthur Clive Banfield and others. Many of these add to bodies of work already held within the RPS Collection, making the V&A one of the most important centres for the study of early colour photography. 

The collection has examples of many colour processes including Dufay Dioptichrome, Dufay, Lippmann, Paget, Baker Duplex, Thames, Ducos du Hauron Mélanochromoscope and Sanger Shepherd.

Of special note is the photographic archive Dr Kurt von Holleben, the head of Agfa's colour screen development for the Agfa-Farbenplatte, Agfacolor and Agfacolor Ultra processes. This consists of some six hundred 9 x12cm Agfa glass plates from 1924 to 1938 covering the whole of Germany and his travels in Europe and Scandinavia.

Speaking to BPH, Colin Axon explained that "I started out collecting daguerreotypes but switched to early colour about 15 to 20 years ago. Before I started I read Brian Coe’s book Colour Photography: The First Hundred Years, 1840-1940 from cover to cover. I used it as the guide for my collection and I tried to find as many of the different colour processes as I could. I believe that the items I found will sit well alongside the V&A’s other holdings."

The catalyst for the donation was to find a home for the collection where it would be properly stored, in the right conditions, and made available. His initial contact was with the former V&A curator Catlin Langford who was working on a book of autochromes in the V&A collection.  The collection finally arrived at the museum in February. 

See: https://en.wikipedia.org/wiki/Kurt_von_Holleben and https://www.photocollections.org.uk/collections/colin-axon-collection-early-colour-photography

Catlin Langford, Color Mania: Photographing the World in Autochrome (Thames and Hudson, due December 2022) 

With thanks to Colin Axon and Ron Callender. 

Images; 

Top: Otto Pfenninger, Children in the water', Brighton, 6 August 1906. Davidson & Jumeaux Colour Process, lantern slide. 

Left: Autochrome, 13x18cm. Sold as 'one of the little daughters of the Lumière brothers'. Both images courtesy of Colin Axon.