Investigate the fascinating history and theories of photography in this weekend-long course hosted by the Royal Academy of Arts, London, and delivered by Professor Mark  Rawlinson. 

In 1859, Charles Baudelaire famously described photography as “art’s mortal enemy” and argued its proper function was to be the “very humble servant” of the sciences and arts. For Baudelaire, photography’s ability to reproduce nature exactly was its genius but also its fatal flaw. Unlike art, for Baudelaire, photographic representation could not elevate its subject – the sitter of a portrait or the view of a landscape – because it simply mirrored them and made a copy and photography should be to art what the printing press was to literature: a tool.

Such criticisms require us to ask some important questions about photography: what is it? why does it exist? what is it for? And, of course, is photography art? It also asks us to consider the relationship between photography and the arts more widely. For example, how has non-photographic art and architecture influenced photography, and vice-versa?

Photography’s aspiration to be considered equal to painting is obvious in images from the 19th and early 20th centuries which echo and mimic painterly compositions and artistic styles. The emergence of painterly abstraction was paralleled in photography, but rather than simply copy painting, photography explored new visual territory, and on its own terms becoming avant-garde. The 20th century witnessed the birth of self-conscious modes of photography: straight, staged, abstract, collaged, and camera-less photographic techniques were reinvented. So too were the processes of making, printing, and exhibiting photography. Even the truth claims of documentary photography – the genre best aligned to ‘copying’ reality – continue to be reasserted and challenged.

To better understand these questions and relationships, this course explores photographic histories in relation to art history’s own complicated relationship with the medium. Sessions will consider a variety of historical moments where art and photography collide, points in time where art, photography and criticism were irrevocably altered.

From the 19th Century Eadweard Muybridge’s work in photographic studies of motion to the contemporary David Hockney's artworks, the course traces and illuminates the productive relationship between photographic practices and art.

London: Royal Academy
8-9 November, 2019
£420 
See more and book here.

Kresen Kernow holds hundreds of thousands of historic images of Cornwall and of people and events connected to Cornwall. Some of these images are glass negatives, others are engravings, prints and postcards. Some are glued into albums, others are loose in wallets and envelopes. 

Many of the pictures have came through individual family collections. We also have the collection of press photographer George Ellis which contains over 100,000 glass negatives.  Ellis came to Bodmin from London at the outbreak of World War II and stayed, photographing north and east Cornwall and its people throughout the war and into the 1970s.

The Historic Environment Record also contains thousands of images of the historic buildings and features which dot the Cornish landscape. These include images of bridges, windows, bunkers and crosses, as well as an extensive collection of aerial photographs.

Digitising our image collection is an on-going project, mostly carried out by volunteers. We have prioritised digitising glass negatives to make them more accessible. You can browse digitised images here.

Image: Photograph,Cooks Kitchen Mine, 1893.

This one-day symposium at the Royal Albert Memorial Museum in Exeter invites conversations on photography and photographic collections in the South West and wider UK in relation to aspects of place. Photographs relate to place in various ways including their documenting capacity and the direct inscription of the world on their surface. Therefore, photographs directly inform our imagination of a place. How do collections like this develop? In turn, a specific place can also inspire the work of photographers and photographic artists: the symposium includes a focus on Dartmoor, in particular.

Speakers include Liz Wells (curator, writer and Professor in Photographic Culture at Plymouth University), Garry Fabian Miller (Dartmoor-based photographic artist), Bronwen Colquhoun (Senior Curator of Photography, National Museum Wales), Jo Bradford (Dartmoor-based photographic artist and founder of Green Island Studios), Emma Down (Hidden Histories Project Archivist, Beaford Archive), Catherine Troiano (Curator, National Photography Collections, National Trust), Brendan Barry (Exeter-based photographer, lecturer and educator, founder & director of Positive Light Projects) and Mark Haworth-Booth (former Senior Curator of Photography at the V&A).

The symposium will coincide with a small photography display at RAMM on ‘Rivers, Trees and Landmarks’.

Collecting regions - Photography and a sense of place
Wednesday, 18 September 2019
1000 - 1700 
Further information here: https://exeterramm.admit-one.eu/?p=tickets&perfCode=3498&ev=4189

In a new blog post 'from the vaults' Rachel Nordstrom, Photographic Collections Manager, at St Andrews University's special collections discusses the restoration of two daguerreotypes in the collections using the new technique of electro-cleaning which was first described in 2016. Two daguerreotypes subjected to the technique: one showing a man with a scientific instrument, now identified as a ‘spark generator’; the second, was a group of four men (J D Forbes, Rev. William Brown, Hugh Lyon Playfair and Dr George Buist), by Antoine Claudet.

The before and after photographs show the effectiveness of  the technique. The work was undertaken by Dr Mike Robinson.  

You will be able to see the results  during the St Andrews Photography Festival as the theme for this year is Science & Photography. Check the festival website events line up for further details, specifically on the ‘Science Treasure from Special Collections’ visit on 22 October at Martyrs Kirk.

Read the full blog here: https://standrewsrarebooks.wordpress.com/2019/08/27/electrifying-daguerreotypes/

Dr Mike Robinson is taking his highly acclaimed daguerreotype workshop to St Andrews, the birthplace of Scottish photography. Co-hosted by the University of St Andrews, the three-day daguerreotype workshop is the first time a mercury-based daguerreotype workshop has been held in the country.

The course is limited to six participants and each participant will have two finished and housed daguerreotypes to take with them at the end of the workshop. 

The course fee is $1250 and all equipment and materials are provided. Early booking is advised. 

Delivered in partnership with the Fox Talbot Museum, Lacock. 

To book: https://centurydarkroom.com/education

The V&A’s acquisition of the Royal Photographic Society collection from the Science Museum in 2017 has raised major questions about the place, role and nature of photography in museums, the shape of ‘collections’, the role and status of ‘non-collections’ of photographs, the practices and styles of history of photography, and the assumptions of museology.

The conference explores the dynamics of such themes across analogue and digital media, and considers the sprawling practices and deposits of photography in museums and galleries.  It will focus on the mass of photographs in museum holdings that fall outside formal ‘collections of photographs’, and explore the epistemic force and hierarchies of value to which photographs contribute as they remake, reproduce and solidify institutional values. What is ‘collected’ and what is not?  What are the shifting boundaries between ‘collections’ and ‘non-collections’?  How do ‘collections’ emerge and how are category shifts realised? How are photographs put to work within museums?  How do photographs form and cohere institutions and their practices? How are museum meanings made through photography? Finally, what are the interdisciplinary implications of these debates across, for instance, museum studies, history, art history, history of science and anthropology? 

With distinguished international speakers, including Dr Geoff Belknap (NSMM), Dr Costanza Caraffa (Kunsthistorisches Institute, Florence) and  Dr David Odo (Harvard University Collections) the conference gathers curators, conservators, academics and other specialists to consider the saturating role of photographs in museums, changing practices, and broader implications.

The conference is organised by the V&A Research Institute (VARI) and generously funded by the Andrew W. Mellon Foundation.

The Institutional Life of Photographs

Victoria and Albert Museum, Hochhauser Auditorium, Sackler Centre

December 6-7, 2019

To book see: https://www.vam.ac.uk/event/Vvq9oLvj/the-institutional-lives-of-photographs-dec-2019

Bodleian Library Publishing is publishing a new book Now and Then tying in with an exhibition of the same name. Daniel Meadows is a pioneer of contemporary British documentary practice. His photographs and audio recordings made over forty-five years, capture the life of England's ‘great ordinary’. Challenging the status quo by working collaboratively, he has fashioned from his many encounters a nation’s story both magical and familiar.

His new book covers the full range of his ground-breaking projects, drawing on his archives now held at the Bodleian Library. Fiercely independent, Meadows devised many of his creative processes. He ran a free portrait studio in Manchester’s Moss Side in 1972, and then travelled 10,000 miles making a national portrait from his converted double-decker bus called the Free Photographic Omnibus, a project he revisited a quarter of a century later.

Alongside the portraits of people, Daniel Meadows also portrays the landscape of England, then and now, and the work people did, many now long-forgotten trades such as the engineer for a steam driven cotton mill and the steeplejack.

At the turn of the millennium Meadows adopted new ‘kitchen table’ technologies to make digital stories: ‘multimedia sonnets from the people’, he called them. He sometimes returned to those he had photographed, listening to how things were and how they had changed. Through their unique voices he finds a moving and insightful commentary on life in Britain and how much it has changed since he began his life’s work.

Daniel Meadows’ photographs have been exhibited widely with solo shows at the Institute of Contemporary Arts London (1975), Camerawork Galley (1978), the Photographers’ Gallery (1987) and a touring retrospective from the National Science and Media Museum (2011). Group shows include Tate Britain (2007) and Hayward Gallery Touring (2008).

The exhibition Daniel Meadows: Now & Then celebrates the work of one of Britain’s foremost photographers who worked from the 1970s onward, authentically capturing British life. The exhibition comprises 17 pairs of portraits which depict the same people 25 years apart (1970s – late 1990s), taken as part of Meadows' Free Photographic Omnibus project in the 1970s for which Meadows originally toured the UK in a double-decker bus capturing the lives of ordinary people. The display also features 16 short films about his subjects as well as giant news clippings showing how Meadows reached out via local media to find his subjects. The exhibition marks the recent and important gift of Daniel Meadows’ photographic archive to the Bodleian Libraries. Daniel Meadows: Now & Then, Weston Library, 4 October – 24 November 2019. For more information visit www.bodleian.ox.ac.uk/whatson

NOW AND THEN: England 1970 - 2015
Daniel Meadows
Publication: 4 October 2019, £25.00

Exhibition: 4 October–24 November 2019 at the Bodleian Libraries.

BPH member Rob Crow is seeking assistance to help identify the members of this group of eight photographers. Seated nearest the camera is Walter Benington (1872-1936) the Pictorialist photographer and leading member of the Linked Ring in its later years.  He was a member of the Ring’s “Hanging Committee” from 1907.  Margaret Harker (1979: 109) has a photograph of the 1909 Committee so this one may possibly be from earlier.

The print is from a collection of family and miscellaneous portraits from a collection of Benington’s work now in Australia.

Any suggestions warmly welcomed. Please comment below. 

A new exhibition and book will mark the important contribution that Tony Ray-Jones (1941–1972) and his legacy, have made to British documentary photography.

The exhibition and book will focus on photographs taken between 1966–1969 as Ray-Jones, driven by curiosity, travelled across the country to document English social customs and what he saw as a disappearing way of life. This small but distinctive body of photographs was part of an evolutionary shift in British photography, placing artistic vision above commercial success. In this short period of time, Ray-Jones managed to establish an individual personal style. He constructed complex images against a uniquely English backdrop, where the spaces between the components of the image were as important as the main subject matter itself.

Ray-Jones’ skills were gleaned from a generation of street photographers he encountered whilst living in New York in the mid-1960s. These photographers included Garry Winogrand, Joel Meyerowitz and others associated with the circle of legendary Harpers Bazaar art director Alexey Brodovitch. Their pictures defined the era as they used the street as a framework. Ray-Jones applied this new way of seeing to his native England and photographed his observations as they had never been seen before.

In 2012, Martin Parr alongside curator Greg Hobson, revisited Ray-Jones' contact sheets from this period and found previously unseen images. These new discoveries will be exhibited and published alongside iconic early images, including vintage prints from the Martin Parr Foundation collection.

RRB Photobooks / Martin Parr Foundation
Publication: 16th October 2019
Hardcover, Red Cloth
30 x 25 cm, 128 pages
Essay by Liz Jobey
Introduction by Martin Parr
Pre-order together with the forthcoming Martin Parr - Early Works for £85

The exhibition opens at the Martin Parr Foundation in October. 

See more here.

Registration for the Charles Piazzi Smyth Bicentenary Symposium at the Royal Society of Edinburgh, and associated events, is open until 30 August. Smyth (1819-1900), the second Astronomer Royal for Scotland who established Edinburgh's One O'Clock Gun, was a pioneer in meteorology, metrology, photography, mountaintop observation and Egyptology. The symposium will explore his life, work and contested legacy.

There will be two full days of talks by historians of science, Egyptology and photography, astronomers and curators on 3-4 September, including a plenary lecture by Professor Simon Schaffer. On Monday 2 September there is a tour, visits and a screening of the 2016 film “A Residence Above the Clouds”, and on the Tuesday evening a public lecture by Denis Pellerin (London Stereoscopic Company), where the audience will have stereo viewing glasses to enjoy the projected images.

See https://www.piazzismyth.org/piazzi-smyth-symposium/ for an overview and a link to registration for individual events or the full programme. See https://www.piazzismyth.org/symposium-details/ for details of the academic programme and abstracts. 

The free History of Astronomy walking tour and visit to the archives of the Royal Observatory Edinburgh can be booked here: https://www.piazzismyth.org/symposium-extras/. ​

Thousands of photographs, prints and letters that reveal the private passions and public interests of Queen Victoria’s husband Prince Albert have been published online to mark the 200th anniversary of his birth. 

The Royal Collection Trust has digitised 17,500 documents for a new website, the majority publicly available for the first time. The website will bring together 10,000 photographs collected and commissioned by Prince Albert; the Raphael Collection, the Prince's study collection of more than 5,000 prints and photographs after the works of Raphael; and official and private papers relating to Prince Albert. They are presented in groups that frequently reflect Albert’s vision for the development and organisation of his collections and papers.

Of particular interest is the photographs collection. Prince Albert played an integral role in the advancement of photography. During a stay in Brighton in 1842, Albert attended the photographic studio of William Constable. The resulting portrait is the earliest surviving photograph of a British royal family member. Queen Victoria and Prince Albert were joint patrons of the (later Royal) Photographic Society shortly after its foundation in 1853.

During his lifetime, Prince Albert cultivated a collection of some 10,000 photographs by pioneering nineteenth-century photographers such as Frances Sally Day, Roger Fenton, Oscar Gustav Rejlander, Charles Thurston Thomspon and George Washington Wilson. Together these photographs reflect Prince Albert’s unwavering belief in photography as an art form, and his advocacy of its value as a historical record and a means to share knowledge.

See: https://albert.rct.uk/

and news report: https://www.theguardian.com/uk-news/2019/aug/23/prince-albert-passions-digitised-website-photos-200th-anniversary

Image: WILLIAM EDWARD KILBURN (1818-91)
Prince Albert (1819-1861) 1848
Hand-coloured daguerreotype | 8.6 x 6.3 cm (image) (image) | RCIN 2932487

James Furnival sheds some light on the significance of the Jewellery Quarter and the developments of the photographic industry as we know it.  Birmingham and the Jewelllery Quarter played a very important role in the development of something that we all take for granted now. Through the evening, James will tell us about the key involvements of the JQ and the wider area of Birmingham and its contribution to the way we use and enjoy photography, at the touch of a button.

Gary Stone will be talking about the photographer James A Brimble, author of London’s Epping Forest and owner of Brimble’s bookshop/newsagent in Chingford from the 1940s-70s. Brimble was a member of the Royal Photographic Society from 1941 and Associate from 1942. The talk takes place at Chingford Historical Society, on 19 September, in Chingford, London, from 1930.

See: http://chingfordhistory.org.uk/16226.html?*session*id*key*=*session*id*val*

The Trustees are seeking to appoint a new Chief Executive to lead the Royal Photographic Society (RPS). This prestigious Society, established in 1853, exists to educate members of the public by increasing their knowledge, understanding and appreciation of photography and in doing so to promote the highest standards of accomplishment in this art form.

This is an exciting opportunity to join the RPS and to help take the organisation forward to the next stage of its strategic development. Together with a supportive Board and an ambitious staff team, you will help the Society to become an ever more efficient and impactful organisation for its beneficiaries. 

We are seeking an inspirational senior leader who will share the vision and principles of the Society. You will provide robust leadership to the RPS and support its ambitions for growth, development, collaboration and innovation.
You will have demonstrable senior management experience and a clear track record of driving organisations forward from existing positions of strength. Significant experience of transformational leadership and change management from within the visual arts, photography or charitable sectors would be advantageous.

Details here: https://jobs.theguardian.com/job/6955654/chief-executive/

The V&A is advertising for an Assistant Curator, Photographs, to replace Catherine Troiano who has moved to a curatorial role at the National Trust. Applications are required by 9 September 2019. 

The V&A is the world's leading museum of art, design and performance. We enrich people's lives by promoting the practice of art and design and increasing knowledge, understanding and enjoyment of the designed world.

We are currently recruiting for the post of Assistant Curator in the Photographs Section of the Word & Image Department (WID). The post holder will care for and provide physical and intellectual access to the permanent collections.

The successful candidate will be educated up to at least degree level with substantive experience of work or volunteering within a museum or other relevant cultural organisation. Excellent grammatical English, computer skills and a knowledge of the history of photography are essential.

Please note that the V&A is unable to sponsor visa applications.

See more here.

Closing date for applications: Monday 9 September 2019 at 5pm.

Interviews will be held on Tuesday 24 September 2019. 

The Netherlands has until now lacked a meeting point for vintage photography. Inspired by the famous Frido Troost (1960-2013), whose Institute of Concrete Matter, offered a space where collectors, curators and photographers could meet and have extraordinary encounters and dialogues on photography, two curators and three collectors have joined forces and initiated Dialogue.

Dialogue is organized by the Dialogue Foundation, a not-for-profit organization aiming to further the interest in vintage photography and photobooks in the broadest sense of the word. At the time of writing some 33 exhibitors of vintage and contemporary photography from the Netherlands, Belgium, Germany and the United Kingdom are signed up and they will show some 15,000 photographs in 1700m2 of space. Over 1000 visitors are expected on the day.

The photograph fair is supported by a public programme of talks, workshops and exhibitions.

Find our more here: https://www.dialoguevintagephotography.com/ or email: info@dialoguevintagephotography.com

There is still space for exhibitors. 

Dialogue takes place on 21 September 2019 at CEC Amsterdam, Bijlmerdreef 1289 Amsterdam, Netherlands. Admission is by free ticket. 

UCLA Film & Television Archive, the second-largest archive in the U.S. after the Library of Congress, and the Baker Street Irregulars (BSI), the foremost Sherlock Holmes society in the U.S., are mounting a world-wide search for lost Sherlock Holmes films. Famed actor Robert Downey, Jr., who has portrayed Sherlock Holmes on screen in two films, with a third Holmes film in pre-production, is the Honorary Project Chair.

Entitled Searching for Sherlock: The Game’s Afoot, the two nonprofit organizations plan to contact film archives, Sherlock Holmes societies, film historians, collectors, and other potential sources around the world to find, restore, and eventually screen, films featuring the world’s first consulting detective.

According to Dr. Jan-Christopher Horak, Director of the UCLA Archive, more than 100 films about the iconic British detective are lost or are in need of restoration or preservation. A blue ribbon committee has been formed to lead the search. Also participating are such notables as Nicholas Meyer, author of the book and Oscar-nominated screenplay of The Seven-Per-Cent Solution and a leading silent film historian, Kevin Brownlow.

Arthur Conan Doyle’s Sherlock Holmes is one of the most popular characters in all literature. The Victorian detective has made the leap countless times from the printed page to the motion picture and television screens. Beginning with his first appearance in “A Study in Scarlet” in Beeton’s Christmas Annual in 1887, Holmes has inspired aficionados internationally and is the most-filmed character in the world.

More than 200 films about the British detective have been produced; the first was “Sherlock Holmes Baffled,” a 30-second motion picture released originally for arcade Mutoscope machines in 1900 and copyrighted in 1903.

Among the lost films are: a British production of A Study in Scarlet, produced in 1914; a Danish series, produced by Nordisk films, beginning in 1908; The Missing Rembrandt, produced in 1932, starring Arthur Wontner; and many more.

Spearheading the search is Archive Board and BSI member Barbara Roisman Cooper. For further information about the project or suggestions regarding the search please contact her at peninc1@aol.com.

The Madeira Museum of Photography - Atelier Vicente's - the only museum in Portugal entirely dedicated to photography, reopened on 29 July, after a five years and 1.7 million euros of work.

“We are talking about a nineteenth-century photography studio, the oldest in the country, which has gone through four generations of the same family. We are talking about a heritage that says a lot to the Madeirans, was part of the daily life and experience of Madeira” said Paula Cabaco, the Secretary of Tourism and Culture.

Vicente's Atelier, now renamed the Madeira Museum of Photography, was founded in 1863 by Vicente Gomes da Silva and remained operational until 1978, when the building, in the centre of Funchal, and the estate, with more than 1.5 million negatives were acquired by the Regional Government of Madeira.

In 1866, three years after the opening of the house, Vicente Gomes da Silva received the title of photographer of the Empress of Austria, Isabel of Bavaria, the mythical Sissi, and in 1903, the photographer of the Portuguese Royal House, which also contributed more for its importance, making its studio one of the best equipped of the nineteenth century 

The space was opened to the public in 1982 as a museum and in 2014 it closed for works, with the executive investing 1.2 million euros in the rehabilitation of the building and 500 thousand euros, with a community contribution of 85%, in the restoration and safeguarding of the collection.

The space reopens with a temporary exhibition, until October, entitled Treasures of Portuguese Photography from the 19th century , while maintaining a permanent exhibition representing the various authors included in the collection, which is part of the collection of practically every large house. Madeirans of photography of the nineteenth and twentieth centuries.

The Secretary of Tourism and Culture highlighted the investment made in the “faithful reconstruction” of the studio, namely in terms of furniture, props, laboratory material and cameras, indicating that visitors will even be able to be photographed with scenes of the time. Paula Cabaço explained that the studio's reconstitution also includes a presentation of the history of photographic processes, from the daguerreotype to the first colour photographs, through the magic lantern devices and stereoscopy (immersive format then very fashionable in the 19th century, which gives the feeling within the image even though it was too far from the current 3D effect).

See more here: https://www.madeiraislandnews.com/2019/07/vicentes-museum-reopens-in-funchal-after-investment-of-1-7-million.html

In a Facebook post the chemist and photographic historian Dr Mike Ware confirmed that he had donated his library to the John Rylands library, Manchester. Ware has applied his background as a chemist and scientist to photographic history, particularly on a series of projects at the then National Media Museum and most recently on the platinum process. The library will be cataloguing the books after which they will be made available. 

Ware's biography reads as below:

Dr MIKE WARE graduated in chemistry at the University of Oxford (1962), where he subsequently obtained his doctorate in molecular spectroscopic research (1965). He has followed a career in academic science, lecturing and researching in structural and inorganic chemistry at the University of Manchester (1964-92); becoming a Chartered Chemist and a Fellow of the Royal Society of Chemistry (1982).

He is now independently committed to studying the science, history, conservation, and art of alternative photographic processes. A Kodak Photographic Bursary (1984) initially supported his research on printing in noble metals, which was recognised by the award of the Hood Medal of the Royal Photographic Society (1990), of which he was a Fellow, and by the Richard Farrand Memorial Award of the British Institute of Professional Photographers (1991).

Dr Ware has acted as a consultant to the National Media Museum, Bradford, England, and has supervised postgraduate research in photograph conservation at the Victoria & Albert Museum and the Royal College of Art, and in alternative photographic processes at the University of Derby. He was the first External Examiner for the new M.A. course in Photographic Studies at De Montfort University. He has acted as a scientific advisor to the National Gallery of Art in Washington DC, and in 2016 he was awarded the Special Recognition of Allied Professionals by the American Institute for Conservation of Historic and Artistic Works.

The results of his technical research on improving historic processes, such as the platinotype, palladiotype, cyanotype and chrysotype, have been published in both the scientific and popular literature, and he is the inventor of the new argyrotype process (1991). Several historical studies he has made of early photography have appeared in the academic periodical, History of Photography. The conservation of the first photographs on paper, photogenic drawings by Henry Talbot, is the subject of his book Mechanisms of Image Deterioration in Early Photographs (1994), and the Cyanotype process invented by Sir John Herschel is dealt with in his book Cyanotype: the History, Science and Art of photographic printing in Prussian Blue (1999) – both published by the Science Museum, London. His latest monographs are Gold in Photography and The Chrysotype Manual (2006).  By way of a counterbalance to scholarly activity, he is also an exhibiting photographer, and since 1981 has shown his personal work widely in galleries in Europe, the USA and Australia; examples have been acquired for several national collections.

He has conducted specialist workshops and masterclasses in alternative printing techniques throughout the world, and has appeared on BBC Televison in the Open University series ‘The Chemistry of Creativity’ (1995). Regarding photography as an ideal meeting ground for science and art, his ambition is to bridge the gap between the Two Cultures by harnessing chemical science to enhance the art of photographic expression.

Thirlestane Castle will showcase a new photography exhibition featuring works by Frederick Maitland, the 14th Earl of Lauderdale (18658-1931), curated by Sam Cornwell. The exhibition will be displayed in a new event space, the 'Vaulted Cellars' at Thirlestane Castle, Lauder, Scotland.

The exhibition will showcase some of the early printing techniques used by this prolific photographer at the turn of the last century as well as pre-Photoshop examples of edited images. The Earl was a member of the Royal Photographic Society who exhibited widely and wrote extensively about photography. The Castle holds a large collection of his work. 

As well as never before seen images there will also be a selection of his more vernacular work to give audiences a taster of the Earl’s broad range of photographic skills.

The exhibition will be open from 10am daily and is included in the normal admission to the castle.

See more here: http://www.thirlestanecastle.co.uk/events/events-calendar/theoretical-sharpness-photographic-exhibition