Every so often a photography exhibition comes along which provides a new perspective on what may often be a familiar history of photography and re-excites one as a photo-historian. New Realities is one such show and, if you see no other photography exhibition over the summer, then this is the one not to miss.

Familiar photographs and styles of photography are re-contextualised within a beautifully designed physical space in Amsterdam's refurbished Rijksmuseum and the newly re-opened Philips Wing. Photographically-illustrated books and ephemera are given a rightful prominence (in special cases with glass that eliminates reflections and provide a 360 degree view of the object); and the application of photography is taken beyond science and documentation to its ephemeral use in advertising and mainly through the Steven F Joseph collection which the Rijksmuseum has acquired. 

Using some 300 photographs, photographically-illustrated books and magazines with tipped-in photographs, New Realities tells a story of how photography was put to use after its announcement in 1839. Six themed rooms commence with an introductory room devoted solely to Anna Atkins' British Algae (1843-53). The book itself is displayed with appropriate reverence facing a wall which shows every plate contained within and sets the scene for the way photography changed the way people saw and recorded the world, people and places around them, and created a new art form. 

Room 2 looks at portraiture from the paper prints of Talbot and Hill and Adamson and others to cased daguerreotypes, again beautifully displayed and lit, to the mass-appeal of the carte-de-visite. Room 3 is titled 'functional photography' and includes two copies of Reports by the Juries (1851) which used photography to record the exhibits from the Great Exhibition and a range of images which show how photography was used for recording and documenting the world both visible and invisible (x-rays) for science and medicine, to document collections and people and,how photography showed objects to be advertised to consumers in catalogues and the popular press.

Room 4 looks around the world through travel photography. It shows unique works such as a Girault de Prangey's daguerreotype, to Japanese hand-coloured views of Samurai and to popular stereocards displayed as objects in their own right and for viewing in two stereoscopes recreating their subject in 3D that so captivated the Victorians. Room 5 shows 'high art': how photography was used to support traditional artists through studies of models and, in turn, created high art in its own right, in the new medium.

Finally, room 6 looks at the snapshot photograph and the popularising of photography with early 'instant' photographs and the revolution capitalised by George Eastman with the introduction of the Kodak camera in 1888. 

There are too many individual highlights to mention them all. For me Atkins' British Algae was one, Antonio Cavella's (c.1880, shown above) two portraits of North African men were new to me and seemed contemporary in the subject's gaze and the photographer's approach, and John Hall-Edwards' 18972 x-ray for advertising the Midland Tyre Company's non-collapsible tyre are simply three of so many. 

The exhibition is a testament to the expertise and enthusiasm of Mattie Boom and Hans Rooseboom, curators of photography at the Rijksmuseum. They have produced a stimulating exhibition which reminds us how important photography was throughout the nineteenth century in a fresh way. At the same time it highlights the extent of the photography collections within the Rijksmuseum (some 150,000 images) and they have had the foresight to acquire less obvious collections of photography, such as that of Steven F Joseph, a collection that is likely to grow in importance in showing how photography was used to reach out to commercial and consumer markets.

The catalogue New Realities. Photography in the 19th Century is, like the exhibition, beautifully designed and features essays by the two curators, Saskia Asser, Steven F Joseph and Martin Jürgens. It is fully illustrated, footnoted and indexed. If you cannot see the exhibition, then buy the catalogue. If you get to see the exhibition, then the catalogue will add much to what you will have seen. 

New Realities. Photography in the 19th Century
Rijksmuseum, Amsterdam, until 17 September 2017
See: https://www.rijksmuseum.nl/en/new-realities

Last year Britain on Film took a closer look at rural life across the UK, today the BFI announces Britain on Film: Coast and Sea, an online collection of over 600 newly digitised films, ranging from 1898 to 2000, from the BFI National Archive and the UK’s national and regional film and TV archives, spanning the whole of the UK, available (mostly) for free on BFI Player via an interactive map.

As we enter the summer holiday season, find inspiration here with over 160 films that paint a vivid portrait of the quintessential British holiday. Coast and Sea highlights include Playing on Beach (1903, BFI), Netting The Tide (1978, North West Film Archive at Manchester Metropolitan University), Rohilla Wrecked off Whitby (1914, BFI), The Homecoming (1967, South West Film and Television Archive), Cargo for Ardrossan (1939, BFI) and Private Life of the Gannets (1934, BFI).

Since Britain on Film’s launch, over 30 million people have accessed their country’s film heritage through BFI Player and social media channels. With this new collection over 7,500 films can now be seen online – 97% of which are free. By 2018, thanks to National Lottery funding and the support of the Esmée Fairbairn Foundation, 10,000 film and TV titles from 1895 to the present day will be newly digitised and available to view.

See more: player.bfi.org.uk/britain-on-film

One of Europe’s oldest and most important specialist photography galleries is celebrating a double anniversary throughout the summer of 2017. Impressions Gallery, originally established in 1972 in York, celebrates 10 years since its relocation to Bradford in 2007, as well as 45 years as a photography gallery and charity.

Impressions Gallery was founded at a time when photography was shunned by major museums. Impressions brought many photographers to the British public for the first time, notably the very first show by the then unknown Martin Parr and Daniel Meadows in 1972. From humble origins in a room above a shop in York, the gallery has gone from strength
to strength, playing an immeasurable role in championing photography in the UK. In the last 45 years, more than 630 artists have exhibited, including many well-known names such as Bill Brandt, Cecil Beaton, Dorothea Lange, and
Imogen Cunningham.

The gallery’s speciality is supporting both emerging and overlooked photographers to make major new work, helping Anna Fox, Helen Sear, Joy Gregory, Trish Morrissey and Peter Mitchell to achieve international acclaim. After outgrowing a succession of buildings in York, Impressions moved to Bradford at the invitation of Bradford Council, opening the first purpose built public funded photography gallery in the UK in August 2007.

The charity is now an Arts Council England National Portfolio Organisation, supported by Bradford Metropolitan District Council. While Impressions Gallery’s exhibitions are ever-changing, its mission as a charity remains the same: to help people understand the world through photography.

To celebrate its double anniversary, Impressions Gallery is premiering Field Work, the first retrospective of Bradford-born Liza Dracup, whose mesmerising images explore the natural history of the British Isles. The gallery is also presenting a summer of special events, including pop-up photo booths, a VIP party, and a unique exhibition in a secret Bradford historical gem. A family-friendly celebration will mark Saturday 19 August, the 10th anniversary of Impressions opening its doors in Bradford.

Anne McNeill, Director of Impressions Gallery since 2000, said “Impressions has always been visionary, and never afraid to take creative risks. More than ever, photography plays a huge part in our lives, and people continue to look
to Impressions to be captivated, informed and inspired. I’m delighted to be celebrating this important double anniversary, and would like to thank all the visitors, artists, funders and supporters who have been part of the Impressions story over the last 10 years in Bradford and 45 years in Yorkshire”.

Nick Serota, Chair, Arts Council England, said “Impressions Gallery has long played a crucial part in the promotion of photography in Britain and beyond. The gallery’s exhibitions are always exciting, innovative and show the very best contemporary photography from the UK and further afield. I’m sure that the celebratory summer events will be a big hit with locals and visitors alike.”

Susan Hinchcliffe, Leader of Bradford Metropolitan District Council, said “Impressions has mounted
significant exhibitions, bringing artist of international renown to our city. The gallery has forged strong community links, and provides excellent experiences for both our residents and visitors”.

Martin Parr, international Magnum photographer, said “Impressions Gallery is as vital today as when it opened in 1972. I had my first show there, and many photographers have done the same. The policy of showing new work and emerging photographers remains central to the gallery”.

Impressions Gallery attracts around 50,000 visitors annually to its Bradford space in addition to those visiting its touring exhibitions. In York the Gallery saw around 30,000 visitors in its final year. 

See more here: http://www.impressions-gallery.com/

You will provide professional leadership for IWM’s internationally important collection of historic photographs, which is recognised as one of the most significant photographic collections in Great Britain, unique in its scale, depth and scope. The IWM’s holdings currently comprise several million analogue and born digital images, taken by professional and amateur photographers of many nationalities from 1850 - present, along with associated documentation and artefacts. The core focus of the collection are those conflicts involving British and Commonwealth countries from 1914 to the present day. The collection tells the story of these conflicts from the viewpoints of both combatants and civilians from Britain, her allies and opponents. In addition, under Public Records legislation, IWM is the designated Place of Deposit for official photographs relevant to the Museum’s remit. It is also the custodian of the photographic record of the Museum itself. The post holder will work with IWM’s historical teams to acquire new material for the collection, to research and document holdings to achieve a greater understanding of the collection to increase its benefit to both IWM, our audience and researchers.

As IWM’s most senior specialist in photography, you will at all times demonstrate and develop a high level of knowledge and a breadth of expertise about the collection based on extensive research and experience. You will use this to drive the development and documentation of the collection, and support its commercial exploitation, public programme, research and the work of other teams and departments.

You will promote the use of the photographic collection, both within IWM and externally. You will steer the strategic development of IWM’s photographic collection through liaison across Narrative and Content and IWM as a whole.

You will also play a leading role in creating a working culture that is responsive, collaborative and committed, and an environment that welcomes curiosity and creativity. Finally, you will champion the Change programme and the opportunities it brings with it, both for IWM in its operations and activities and for our audiences.

Key duties 

You will be expected to work independently as well as across different teams in order to contribute to and deliver the priorities of IWM - using your knowledge, skills, talent and potential to the best of your ability. 

You will focus at all times on delivering excellent customer service, ensure value for money at all times while being professional, courteous and demonstrating the behaviours and attributes expected of all IWM employees. You will also adhere to all corporate standards, and use corporate systems as directed to ensure consistency of service, brand and operational standards. 

You will drive the delivery and development of all services within your department, and contribute to the development of other areas as required. You will also adhere to all corporate standards, and use corporate systems as directed to ensure consistency of service, brand and operational standards

You will be an experienced specialist in your area and take on broad responsibilities, working across departments effectively, with individuals, partner organisations and volunteers.

You should be able to lead, manage and motivate your staff, partners and volunteers in order to get the best out of them.

You will play a key role and in the development of corporate and departmental strategy and initiatives.

You will be expected to comply with corporate standards, and use corporate systems, processes and procedures– and undertake any necessary training as directed.

In addition, your duties will include:

1. To lead on the research, interpretation and development of the IWM photographic collection and to advise on its appropriate interpretative use and presentation.

2. To meet regularly with, coach, support and advise relevant curatorial specialists across the department, to ensure the quality of their work as regards their specialism, to identify training needs, and to contribute to their appraisals.

3. To work with curators, Heads of historical teams, the Head of Collections and Curatorial Development and the Department of Collections Management to develop the enhanced interpretation of the photographic collection and to assist with the development of its documentation and digitisation.

4. To play a leading role in meetings and discussions with IWM colleagues and representatives from TNA and MOD relating to IWM’s status as a Place of Deposit under the Public Records Act, with particular emphasis on the archiving and use of born digital official photographs.

5. In collaboration with Collections Management, to agree and advise curatorial teams on approaches to and standards for interpretation and cataloguing of the collection and ensure that these are upheld across IWM.

6. To liaise with Collections Management regarding the photographic collection, and to inform IWM practice by establishing peer-to-peer relationships with individuals and organisations that set and provide guidance on collections development, collections care and curatorial standards.

7. To develop academic research projects and meaningful partnerships that enrich understanding of our photographic collection.

8. To put forward imaginative ideas for exhibitions and other elements of the public programme or events at external partner organisations

9. To respond to requests from across IWM for knowledge and skills, co-ordinating, delegating and apportioning resource accordingly to support the Assistant Director (Narrative and Content), Head of Collections and Curatorial Development and work with the Heads of historical teams in identifying strategic priorities and development of corporate plans.

10. To facilitate among curators across IWM an understanding of our photographic holdings, their unique qualities, their place within the material culture of conflict, and their potential for reaching our audiences.

11. To identify development opportunities for photograph curators in order to ensure the expertise and knowledge of specialist curators is maintained in the organisation.

12. To support the Heads of historical teams in creation and development of content for galleries and exhibitions, as well as Learning, Development, Press, Publishing, Media, Marketing and Commercial outputs and activities 

13. To develop academic research projects and meaningful partnerships that enrich our understanding of our collection.

14. To facilitate access to our collection, knowledge and skills to the public and to colleagues across IWM.

15. To apply excellent communication skills in working with audiences and stakeholders, both internal and external, and with other specialists in historical photographs.

16. To work at all times as a team member, consulting with colleagues and sharing knowledge and information.

17. To ensure that all areas of activity deliver IWM brand values and comply with corporate priorities, standards and systems at all times.

18. Representation of IWM on external professional and academic boards and at conferences, workshops and seminars

19. To identify and implement learning and development needs of both yourself and specialist curators of photographs across IWM’s historical teams.

20. Providing media interviews and giving tours and presentations to stakeholders and VIP visitors

See more and apply by the 21 June closing date here: 

Photographs by pioneering Swanage photographer, Helen Muspratt, whose studio opened in Swanage in 1928 are the subject of Face, Shape and Angle. The photography of Helen Muspratt at the Fine Doundation Gallery, Durston Castle, from 20 June 2017. Muspratt's work includes her portraiture of Paul Nash and Eileen Agar.

Exhibition Dates: Tues 20 June – Tues 11 July 11am – 4pm
Fine Foundation Gallery, Durlston Castle

See: http://www.durlston.co.uk/gallery.aspx

Europeana.eu enables people to explore the digital resources of Europe's galleries, museums, libraries, archives and audiovisual collections. Explore the history of photography in 2,301,790 items from European collections. See the photography collections here: http://www.europeana.eu/portal/en/collections/photography

Photographic collections are found in libraries, archives and museums all over the world. Their sensitivity to environmental conditions, and the speed with which images can deteriorate present special challenges. This one day training session is led by Susie Clark, accredited photographic conservator. It is aimed at those with responsibility for the care of photographic collections regardless of institutional context.

The day provides an introduction to understanding and identifying photographic processes and their vulnerability, information on common conservation problems and solutions, and the preservation measures that can be taken to prolong the life and accessibility of photographic collections. Contact with real examples of different photographic processes is an important feature of this training session which is therefore limited to only 16 places. At the end of the day participants will be able to: identify historic photographic processes explain how damage is caused implement appropriate preservation measures commission conservation work.

See more here: https://www.westdean.org.uk/study/short-courses/courses/bl29-preserving-historic-photographs

Pat Stewart, the Tiller girl in the polka dot dress, who was famously captured by Bert Hardy in Blackpool, has died aged 83 years. Hardy's photograph was a Picture Post front cover in 1951. The picture was taken by Hardy on a Brownie camera to show that great photographs were created by the photographer rather than the camera. Stewart had to assert her claim to be the subject. She will be buried in the dress that made her famous.

A Victorian Society is a book about early photography and photographers, told against the backdrop of life in what was to become the most productive cotton spinning town in the world. In 1867, when photography was still in its infancy, a group of photographers from Oldham and District met at the Hare and Hounds Inn, Yorkshire Street, and founded the Oldham Photographic Society and some of these men would provide the early photographic studios in the town.

The photographic portrait had been accessible only to the wealthy but now it was beginning to be affordable by all but the poorest in society. One evening each week, the early photographers of Oldham met to share knowledge and to collect photographs in their album, which has mostly lain unseen in the society's archives for over 100 years.

A Victorian Society has more than 300 black and white photographs and illustrations, many of which are published here for the first time. The book first traces the early days of photography through the lives of the pioneers, in France and Britain, whose work led to the creation of the permanent photographic image, paving the way for all professional and amateur photography. After the Lancashire cotton famine, the late 1860s marked the beginning of the most exciting period of Oldham's history.

The author examines the rise of the town to become one of the most important cotton spinning and textile engineering towns in the world and follows its progress through phenomenal growth to eventual decline. The Victorian age was the 'Age of Invention' and the Oldham Photographic Society reflects that through its early members, many of whom rose to prominence in the world of photography, commerce and manufacturing, some of their businesses achieving national and international importance. Using genealogy sources and historic publications, the author researched the lives of many of the society's Victorian members and brings them together in a social group not studied before. Their stories give a real insight into their origins, successes, rise to fortune, failures and personal tragedies. The book concludes with a guide on how to date old photographs.

A Victorian Society: Oldham Photographic Society the First 150 Years
Christine Waddell
£15, 326 pages

Available on Amazon at: https://www.amazon.co.uk/Victorian-Society-Oldham-Photographic-First/dp/1545379858/ref=sr_1_1?s=books&ie=UTF8&qid=1496599954&sr=1-1&keywords=a+victorian+society

Developed in Birmingham, celebrating the early history of photography in Birmingham, is a season of hands-on workshops, talks, walks and events which reveal, explore and celebrate the city’s significant role in the early history of photography. 

The programme connects and expands on two complementary exhibitions in Birmingham; Thresholds, a virtual reality exhibition by Mat Collishaw and A White House on Paradise Street by Jo Gane with Pete James and Leon Trimble. Developed in Birmingham presents a variety of exciting events in a range of venues and public spaces across the city.

The season of events has been made possible by funding from Arts Council England, University of Birmingham, Argentea Gallery and Millennium Point and is supported by BOM (Birmingham Open Media), Waterstones, Wild in Art and Birmingham Children’s Hospital Charity, Birmingham Museum & Art Gallery and neighbouring development, Paradise.

See: https://www.developedinbirmingham.com/

The dawn of photography in the mid-19th century made portraiture accessible to a much wider public. This exhibition explores early photographic studio portraiture, including the popular carte-de-visite format.

The exhibition discusses how photographic techniques, backdrops, props, costumes and poses enabled public figures – ranging from Oscar Wilde through Ellen Terry to Queen Victoria – to fashion and promote their own identities. It also suggests how studio photography contributed to the modern idea of celebrity.

Curated in partnership with the National Portrait Gallery and University of Birmingham MA Art History and Curating students, it also features loans from the University’s Cadbury Research Library and Research and Cultural Collections.

See: http://barber.org.uk/more-real-than-life/ for details of the exhibition and related talks. 

Image: Oscar Wilde by Napoleon Sarony, 1882 © National Portrait Gallery, London

Within the total number of photomechanical prints, artistic works represent only a small part. With the introduction of photography in the 19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.

With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.

Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.

In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.

The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through closely looking at the original prints, and exercises in identification.

The two day course provides an opportunity to look at a great number and variety of original prints under magnification and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Seminar: Identification of photomechanical prints
October 12-13, 2017 at Papierrestaurierung Hildegard Homburger, 10555 Berlin, Germany

Hosted Hildegard Homburger in cooperation with the Internationale Arbeitsgemeinschaft der Archiv-, Buch- und Grafikrestauratoren (IADA)   www.iada-home.org

The language of the Seminar will be English.

Maximum participants: 8

Costs: 330 Euro or 285 Euro for IADA-members

Registration requests should be sent to: hombu@freenet.de

The Victoria and Albert Museum (V&A) has revealed the first visual of its new, state-of-the-art Photography Centre, and has announced its first major supporter for the project – The Bern Schwartz Family Foundation.

Designed by David Kohn Architects (DKA), the first phase of the V&A Photography Centre will more than double the display space dedicated to photography by Autumn 2018. It forms part of an ambitious two-phased FuturePlan development project to dramatically reimagine the display of the photographic collection at the V&A which includes the RPS Collection.

DKA’s design for the Photography Centre will celebrate the original features of the V&A’s nineteenth-century picture galleries, while creating a rich variation of atmosphere through the use of lighting, and clever climate control to ensure a stable environment for fragile artworks. A modular system of display cases that can be easily reconfigured will allow for greater flexibility and varied displays of a wide range of objects, from photographs to cameras, publications and archive materials, exploring the relationship between art and technology. DKA were chosen as the successful practice following an invited competition and submissions from a strong shortlist.

The newly released render gives a glimpse into one of the largest galleries within a suite of spectacular rooms to be dedicated to photography at the V&A. Previously referred to as Gallery 100, the original nineteenth-century picture gallery will be renamed ‘The Bern and Ronny Schwartz Gallery’ in recognition of the generosity of The Bern Schwartz Family Foundation, the first major supporter of the Museum’s Photography Centre. The Bern and Ronny Schwartz Gallery will be a pivotal space within the new Centre, featuring a programme of displays showcasing both the greatest historic treasures from the V&A collection and cutting-edge contemporary photography.

David Bickle, Director of Design, Exhibitions and FuturePlan at the V&A, said: “We were delighted with the quality and inventiveness of DKA’s submission for the V&A Photography Centre, which answered the brief in the most effective and creative way. DKA’s design fuses traditional gallery spaces with new interactive interventions that will completely revolutionise how visitors engage with the V&A’s photography collection. I’d like to thank The Bern Schwartz Family Foundation for its generous donation, which gets us one step closer to realising our ambitions.” David Kohn, Architect, said: “We are delighted to be working with the V&A and their curatorial team on this landmark project, not least because of my personal passion for photography. Our approach has been to offer visitors the widest range of ways to engage with this world-leading collection, framed by the stunning architecture of the refurbished galleries.”

Bernard Lee Schwartz (1914-1978), known as Bern, took up photography late in life with great dedication and dynamism. A successful American businessman, at the age of sixty he began taking pictures and flourished as a portrait photographer, depicting well-known figures from across the globe. Bern and his wife Ronny were regular visitors to the UK and admirers of Britain’s museums and art galleries. In his short but prolific career, Bern photographed more than two hundred leading political, religious and cultural figures. His varied subjects included artists David Hockney and Henry Moore, dancers Dame Margot Fonteyn and Rudolf Nureyev, and royals Prince Charles and Louis Mountbatten. Bern’s 1978 portrait of Sir Roy Strong, Director of the V&A from 1973 to 1987, has recently entered the Museum as a gift to The American Friends of the V&A through the generosity of The Bern Schwartz Family Foundation.

Michael Schwartz, son of Bern Schwartz and President of The Bern Schwartz Family Foundation commented: “The V&A has a world-class photography collection and the new Photography Centre, featuring a gallery devoted to the history of photography, will attract a vast international audience. We are delighted to help the Museum share this exceptionally rich resource. My parents considered London to be their second home and would have been thrilled to be a part of this project.”

Further design details and new visuals for the V&A’s Photography Centre will be released later this year. Photographs from the V&A’s collection can be accessed by visitors in the Prints & Drawings Study Room. In addition to developing the Photography Centre, the Museum has upgraded its storage facilities to better house its photography collection. An extensive project to catalogue and digitise the recently transferred Royal Photographic Society (RPS) collection is also underway to provide web access and research resources for audiences around the world. The V&A continues its programme of photographic exhibitions at the Museum, and other venues in the UK and overseas.

This major international conference was convened by Geraldine Johnson (University of Oxford), Deborah Schultz (Regent's University London), and Costanza Caraffa (Kunsthistorisches Institut in Florenz—Max-Planck-Institut). It is the sixth in the Photo Archives conference series. This conference took place on April 20–21, 2017.

The conference investigated photographs and photographic archives in relation to notions of place. In this context, place was used to explore both the physical location of a photograph or archive, as well as the place of photography as a discursive practice with regard to its value or significance as a method of viewing and conceiving the world. Photographs are mobile objects that can change their location over time, transported to diverse commercial, artistic, social, academic and scientific locations. The photograph’s physical location thus has an impact upon its value, function and significance; these topics were explored at the conference through a range of archives and across disciplines. How might the mobility of photographs open up thinking about archives and, in turn, classificatory structures in disciplines such as Art History, Archaeology and Anthropology, or in the Sciences? The conference also addressed questions of digital space, which renders the image more readily accessible, but complicates issues relating to location. What is the place, or value, of the photographic archive in the digital age?

It was sponsored by the Kress Foundation, the John Fell Fund and the History Faculty's Sanderson Fund at the University of Oxford, and Christ Church, Oxford.

A series of podcasts from the conference is available here: http://podcasts.ox.ac.uk/series/photo-archives-vi-place-photography

Drop by the Wellcome Collection and create your own camera-less photo. Use everyday equipment and objects for a modern twist on a traditional imaging process, inspired by our exhibitions ‘Electricity’ and ‘Making Nature’. Led by photographic artist Elaine Duigenan, discover the technique of making a cyanotype image to create your own nature blueprint or photogram.

These workshops are for young people aged 14-19. There are 20 spaces in each session - first come, first served. You’ll have the best chance of getting a space if you turn up 15 minutes before the start of the session. Each session will last one hour, and you’ll be able to stay on for the following one if there isn’t a waiting list.

The event is free. 

See more here: https://wellcomecollection.org/events/saturday-studio-alternative-photography?utm_campaign=764640_What%27s%20On%20in%20June&utm_medium=email&utm_source=dotmailer&dm_i=2PXJ,GE00,4NYE9V,1P80I,1

Only four years after the invention of photography was announced to the world in 1839, two Scots were producing works of breath-taking skill in extraordinary quantities. The current Scottish National Portrait Gallery exhibition A Perfect Chemistry demonstrates the uniquely productive and influential partnership of David Octavius Hill and Robert Adamson. In her talk Anne Lyden, International Photography Curator at the National Galleries of Scotland, will explore their relationship, their work and the memorable images they produced.

Book tickets here: https://www.nationalgalleries.org/event/perfect-chemistry-hill-and-adamson

A Perfect Chemistry | Hill and Adamson
Scottish National Gallery
Hawthornden Lecture Theatre
Tuesday 13 June, 6:30-8:30pm

£12 for Gallery Friends - On sale Thursday 1 June at 10am

The BBC carries a short film of some of the historical film footage of exploration held in the Royal Geographic Society collection which has been digitised and is being made available on the www.player.bfi.org.uk website

See the film here: http://www.bbc.co.uk/news/av/world-40050903/see-the-world-through-adventurers-eyes

The third edition of Photo London which closed on Sunday 21 May 2017, saw a record 38,000 number of visitors and sales, including major acquisitions by international institutions and significant sales to private collectors. The Fair brought together 89 galleries from 16 countries. Photo London is supported for the second consecutive year by main sponsor Pictet Group, continuing a shared commitment to artistic excellence.

To its established mix of returning galleries, Photo London added several new additions including leading contemporary galleries Victoria Miro, Sprüth Magers and Alison Jacques Gallery. This year’s Fair also featured an expanded 'Discovery' section – a showcase for emerging galleries, publishers and artists, curated for the first time by Art Consultant and Curator Tristan Lund.

The Public Programme was also a strong draw for visitors with highlights including: a presentation of work (Image Atlas) by 2017 Master of Photography Taryn Simon; David Hurn’s Swaps exhibition to celebrate the 70th anniversary of Magnum Photos; and the virtual reality artwork Thresholds by Mat Collishaw, which restages Fox Talbot's pioneering 1839 exhibition of photography and continues at Somerset House until 11 June. Photo London’s pavilion commissions continued this year and included a special mural by legendary photographer William Klein together monumental photographic installations by Korean artists Bae Bien-U and Noh Suntag. The Fair also featured a special presentation of Isaac Julien’s award winning Looking For Langston which continues at Somerset House until 29 May.
Several initiatives were also launched at this year’s Fair including two awards – the Photo London Artproof Award and the Book Dummy Award – and The Crucible Project supported by the LUMA Foundation, a new virtual space for the exploration of photography that will take place throughout the year at a series of venues across the City. Michael G. Wilson OBE, major patron and photography collector, was also named Honorary President of Photo London, meaning he will play a key role in the selection of next year’s Master of Photography.

Michael Benson and Fariba Farshad, Founding Directors of Photo London, said: “Our third edition has seen Photo London come of age. It is now firmly established as part of the cultural fabric of the City and is a key date in the international artworld calendar – the event that anyone who is seriously interested in the past present and future of photography cannot afford to miss. We were delighted to present such a strong line-up of both new and returning galleries for the third edition of Photo London, as well as an incredible Public Programme with leading artists such as Taryn Simon, Isaac Julien, William Klein and Mat Collishaw, and our Talks Programme, which featured conversations between some of the finest photographers of our generation. The quality of our exhibitors translated into strong sales throughout the Fair and we are happy to report excellent visitor figures. We are looking forward to the fourth edition of Photo London and continuing the Fair’s upward trajectory. There is huge enthusiasm for photography in London and it’s great to know that Photo London is contributing towards the development of London as a key global centre for the medium.”

The Mayor of London, Sadiq Khan, said: “The success of this year’s Photo London shows that our great city is open to creativity, ideas and to people from around the world. I’m delighted that a record number of visitors came to experience the wide variety of exhibitions and events at Photo London, strengthening the capital’s position as a global cultural powerhouse.”

Philippe Garner, Chair of the Photo London Curatorial Committee, said: “We believe that Photo London has succeeded in presenting an exciting international overview of the ways in which the medium of photography has been explored in recent years, well punctuated with classic reference points from both the distant and more recent past.”

The fourth edition of Photo London will take place from 17-20 (preview 16) May 2018.

The British Journal of Photography carries an interview with the respected, and very active, research curator of photographs at the Imperial War Museum, Hilary Roberts. Read the interview here: http://www.bjp-online.com/2017/05/any-answers-hilary-roberts/

Image: Portrait by Tristan Bejawn

Magnum photographer, David Hurn has donated over 2200 photographs from his own work and those he has swapped with other Magnum photographers to Amgueddfa Cymru – National Museum Wales. Hurn is one of Britain’s most influential documentary photographers. Of Welsh descent, he lives and works in Wales. 

His generous gift comprises two parts: approximately 1500 of his own photographs that span his sixty-year career as a documentary photographer; and approximately 700 photographs from his private collection which he has compiled throughout the course of his career.A selection of works from Hurn’s private collection will be on display for the first time at National Museum Cardiff from 30 September 2017, in Swaps: Photographs from the David Hurn Collection of Photography, an exhibition that launches the Museum’s new gallery dedicated to photography.

Hurn has amassed his private collection over the past six decades, predominantly through swapping works with fellow photographers, including many of his Magnum colleagues. In doing so he has assembled a significant and diverse collection that includes leading 20th and 21st century photographers such as Henri Cartier-Bresson, Eve Arnold, Sergio Larrain, Bill Brandt, Martine Franck, Bruce Davidson and Martin Parr, through to emerging photographers such as Bieke Depoorter, Clementine Schneidermann and Diana Markosian.

Over the last two years, Hurn has been selecting photographs from his own archive to create a definitive edit of his life’s work. The collection of approximately 1500 new prints includes work made in Wales, England, Scotland, Ireland, Arizona, California and New York. It includes some of Hurn’s most celebrated photographs, such as Queen Charlotte’s Ball, Barbarella and Grosvenor Square. However, it is his carefully observed photographs of his home country of Wales that are the focus of the collection. Following his generous gift, National Museum Wales is now the institution with the largest holdings of Hurn’s work worldwide.

David Hurn said, “My earliest visual/cultural memories are visiting the museum when I must have been four or five. I remember the naughty statue - Rodin’s ‘The Kiss’ - and cases full of stuff that people had donated. Well now I have the chance to repay, something of mine will be there forever, I feel very privileged.” National Museum Wales’ existing photography collections are uniquely inter-disciplinary and span subjects including Art, Social and Industrial History and the Natural Sciences. Importantly it includes some of the earliest photographs taken in Wales by pioneering photographer John Dillwyn Llewelyn and his family. The addition of Hurn’s gift will transform the Museum’s photography collections and provide exciting opportunities for expanding the collections in new ways.

David Anderson, Director General of Amgueddfa Cymru – National Museum Wales: “This exceptional donation by David Hurn will raise the profile of Amgueddfa Cymru - National Museum Wales as an important centre for photography in the UK. We know that photography appeals to our visitors and the exhibition in September launches the Museum’s first ever permanent gallery dedicated to photography. We are extremely grateful to David Hurn for this generous gift, which will drive this important and much needed photography programme for Amgueddfa Cymru, benefiting the people of Wales and those further afield.”

The exhibition at National Museum Cardiff follows an earlier presentation of Hurn’s collection at Photo London, the international photography event held annually at Somerset House in London. Curated by Martin Parr and David Hurn, the Photo London exhibition marks the 70th anniversary of Magnum Photos.

Hurn will be speaking about his collection with Martin Parr as part of the Talks Programme at Photo London on Friday 19 May http://photolondon.org/event/david-hurn-in-conversation-with-martin-parr/.

• The Museum appointed Bronwen Colquhoun as senior curator of photographs in February 2016 (see: http://britishphotohistory.ning.com/profiles/blogs/bronwen-colquhoun-takes-up-senior-curator-of-photography-role)

Image: David Hurn,  Outdoor group fitness early in the morning in the retirement Sun City, 1980. © David Hurn/MAGNUM PHOTOS