The Photographic Collections Network is a new organisation established to save and share the UK’s visual photographic history. Arts Council England has generously supported the PCN as a Subject Specialist Network.

The steering group includes The Victoria & Albert Museum, The Royal Photographic Society, Photography and the Archive Research Centre and the National Science + Media Museum. The website and individual membership were successfully launched in November 2017.

The PCN is now soliciting individual member and recruiting founding supporters. Find out more and join on the werbsite. See more at: www.photocollections.org.uk

Just after last week’s weekly BPH blog reminder email had been sent out Lacy Scott and Knight (LSK), an auction house based in Bury St Edmunds, made contact to let me know that there were four lots of photographic interest coming up for auction on Saturday, 9 December. A quick look suggested they were important early material relating to Alfred Swaine Taylor (AST) (right). Their provenance of Thorne Court, an estate in Bury St Edmonds, confirmed this. Alfred Swaine Taylor's only daughter Edith, married Fred Methold, of Thorne Court, near Bury St Edmunds, and moved there in 1865. The information was duly posted on Wednesday.

One lot included some particularly valuable images, two Mayall stereo daguerreotypes, which I advised LSK that should be described in more detail, although they did appear in the catalogue pictures. More images were supplied to me.  The outcome of the auction was that the four lots sold considerably in excess of their estimates and totalled some £13,950 (£17,298, including 20% buyer’s premium and VAT). My own bids which had been left online, as I was attending the French early paper negatives conference in Paris, were exceeded very easily.  The buyer at this stage is unknown but had an agent bidding in the room on the day.

There is more to the story. A lot sold the previous week in a general sale at LSK also came from Thorne Court. In some ways it was even more interesting than the four on Saturday. It was listed as ‘A large quantity of unframed pictures and prints, to include; etchings, engravings, photographs, monochrome copies etc’. It contained a series of some thirty photographic images, both negatives and positives, camera views and copies of engravings. Many of these were initialled ‘C.T.’, which is very likely to be Caroline Taylor, AST’s wife (left). One other item in the lot was initialled ‘A.S.T.’ suggesting the respective initials indicated ownership or authorship. The earliest photographic image was captioned ‘King's College Chapel, Cambridge, 26 July, 1839’ another was a photogenic drawing of a plant, dated August 1839 (below, left).  One image (below, right) shows a photograph of an engraving cut in to three, with two annotated as ‘restored’ which is discussed in John Werge’s The Evolution of Photography (1890). Werge clearly knew AST and described him (p.106) as ‘a man of remarkable energy and versatility’. Other images included Calotype views of Paris dated 1850 and, again, initialled ‘C.T.’and an image also reproduced as figure 2 in Alt’s paper.

So, the lot included a series of very early images made within eight months from Talbot’s announcement of his photogenic drawing process in January 1839. It may also include work by one of the first women photographers, certainly the first outside of Talbot’s immediate circle, if the initials indicated authorship. Although the condition of many of the images was poor the lot sold for £4700 (£5828, including 20% buyer’s premium and VAT).

Taylor was discussed in two articles in History of Photography by Stephen White (July-Sept, 1987) and Laurence Alt (Winter, 1992) and AST has an entry in Taylor, Impressed by Light (Yale, 2007).

Lot descriptions from LSK

3457 (9 December 2017). *A pair of Victorian daguerreotype portraits of ladies, in gilt surrounds, housed in later velvet lined bakelite case in the form of a book, 5.5 x 5cm; together with various other Victorian daguerreotypes, mostly in fitted leather cases with hand-written annotations (12) Condition Report / Extra Information Two stereoscopic daguerreotypes - both labelled verso for Mayall's and of Edith C Taylor, both grubby otherwise good. Pair of small bakelite cased portraits - good. Daguerreotype of Edith Taylor with Emily, with numerous white spots on plate, otherwise good, annotated verso. two matching portraits of women, both corroding around all sides, one worse than the other. The last three framed portraits all good.

3456 (9 December 2017). *A Victorian hand-coloured daguerreotype three-quarter length portrait of a seated gentleman, in fitted J.C. Barrable Photographer red leather case, with hand-written label verso 'Alfred Swayne Taylor' and dated 1859, 12 x 9.5cm; together with four other Victorian portrait daguerreotypes, each in fitted leather cases with hand-written annotations (5)Note: Dr Alfred Swaine Taylor has been considered as the 'father of British forensic medicine' and was an important early pioneer of photography. Condition Report / Extra Information Daguerreotype of Swaine Taylor - numerous spots to glass plate, fine scratch lower left, otherwise good. Daguerreotype of Edith Taylor and her mother, 1847, some dust under glass case, otherwise appears excellent. Three remaining portraits - each with some losses.All annotated verso.

3455 (9 December 2017). *A Victorian hand-coloured daguerreotype three-quarter length portrait of a lady, in fitted leather case, with hand-written annotation 'Mrs Harris, aunt of D.A.S. Taylor, died 1863', together with a lock of her hair, the case with J.C. Barrable Photography, 24 Regent Street label, 12 x 9.5cm; together with four other Victorian hand-coloured daguerreotypes, each in fitted leather cases with hand-written annotations (5) Condition Report / Extra Information All slightly grubby. Hand-coloured. With some fading. Otherwise good.

3454 (9 December 2017). *A Victorian daguerreotype three-quarter portrait of a young girl, in fitted leather case, with hand-written annotation 'Edith C Taylor, aged 3 years, taken by Mayall, 1847', 7.5 x 6cm; together with various other Victorian daguerreotypes, ambrotypes, and over-painted photographic portraits, each in fitted leather cases, many with hand-written and dated annotations (7)Note: Edith Taylor was the daughter of Dr Alfred Swaine Taylor, who has been considered as the 'father of British forensic medicine' and was an important early pioneer of photography. Condition Report / Extra Information The largest with significant mould residue all over.Both 'cabinet portraits' are overpainted, with some fading, otherwise good.Miss Larisa (elderly woman) in very good condition.Family group with losses to edges and some crazing in several areas.Edith Taylor aged 3 - daguerreotype, some minor spots to spots, otherwise good.Small oval female portrait on glass - very good.Small oval male portrait on glass - very good.

1061 (2 December 2017). *A large quantity of unframed pictures and prints, to include; etchings, engravings, photographs, monochrome copies etc

Acknowledgments

With thanks to Darran Green for detailed lot information.

Photographs: Lacy Scott and Knight and Darran Green.

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 and book here: https://www.westdean.org.uk/study/short-courses/courses/bl34-preserving-historic-photographs

Photographs are found in large numbers in many institutions. These include museums, art galleries, libraries, universities, businesses and newspapers. They are also found in the collections of private individuals. They are a valuable historic, artistic and scientific resource made from many diverse materials and it is easy to damage them by inappropriate conservation and care. Led by Susie Clark, this course will describe the processes and photographic materials which have been commonly used and how to recognise them. It will also examine the problems caused by different processes and the appropriate methods and materials for their conservation and care. The course will include the opportunity to look at practical examples of processes and deterioration. The roles of the environment, biological deterioration, health and safety, storage and handling will also be covered. 

Susie Clark, ACR is an accredited paper and photographic conservator with many years of experience. She was formerly the conservator for a collection of approximately 20 million photographs at the BBC Hulton Picture Library (now Getty Images). Since 1990, she has been a freelance paper and photograph conservator and consultant, working throughout Britain and abroad on public and private collections. She has been the conservator for the Collaborative Research Project between the National Media Museum and the Getty Conservation Institute (USA) looking at the characteristics of different photographic processes.

See more and book here: https://www.westdean.org.uk/study/short-courses/courses/m3d07328-conservation-of-photographs

Francis Hodgson's erudite, frequently opinionated and wide-ranging photography blog Writing about Photography carries a fascinating survey of Noel Pemberton Billing and the Compass camera. Although much of the history of the camera, P-B's other inventions and involvement with right-wind politics is known to some of us, they bear repeating. 

Take a look here: https://francishodgson.com/2017/12/06/the-cult-of-the-camera-noel-pemberton-billing-and-the-compass/

This webinar series, funded by The National Endowment for the Humanities, is free and open for all to attend. The first three webinars will discuss the various materials and technologies of photographic prints. The next two will teach a methodology and controlled vocabulary for process identification, as well as a demo of how to use Graphics Atlas. The last one will include an overview of collections care for prints and photographs including proper storage, handling and display methods, and guidelines for the storage environment. Watching the webinars as a series is encouraged but not required.

Recordings of the webinars will be made available if you cannot attend.

A Methodology for Process Identification, Part 1 December 13, 2017, 2:00-3:00pm EST Process identification can be overwhelming and daunting.  IPI has developed several tools in order to make this task easier.  This includes a step-by-step methodology and a controlled vocabulary specific to photograph characteristics for identification. This webinar will present the methodology and controlled vocabulary.

Register Here https://register.gotowebinar.com/register/6833136394893109505?source=IPI+Website

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A Methodology for Process Identification, Part 2 January 10, 2018, 2:00-3:00pm EST This webinar will showcase IPI's web resource, www.GraphicsAtlas.org>. It will highlight the new process identification pages launched in December 2016 as well as the new filtered search and controlled vocabulary. IPI staff will demonstrate how these new features can be used toward accurate process ID.

Register Here: https://register.gotowebinar.com/register/1433305048513110273?source=IPI+Website

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Using Identification to Improve Collection Preservation and Access February 14, 2018, 2:00-3:00pm EST The webinar series will culminate with a discussion of preservation and access for photographic collections. This presentation will draw from recent research to include an overview of collections care for prints and photographs, such as proper storage, handling and display methods, and guidelines for a preservation storage environment.

Register here: https://register.gotowebinar.com/register/6542028596811544577?source=IPI+Website

A group of four lots of daguerreotypes, cased images and two stereo-daguerreotypes showing the family of Dr Alfred Swaine Taylor and Taylor himself are being offered at auction on Saturday, 9 December by Lacy Scott & Knight LLP in Bury St Edmunds. The lots were consigned as part of a large estate from Thorne Court, just outside of Bury St Edmunds, the former home of Taylor's daughter.

Alfred Swaine Taylor Hon MD St And MRCS LSA FRCP FRS (1806-1880) was pioneer of photography who wrote the 1840  On the Art of Photogenic Drawing. He was a doctor and is described as the ‘father of British forensic medicine'. The five mixed lots, which include 1840s and 1850s portraits of Dr Taylor (by J C Barrable and Antoine Claudet), and a portrait of Taylor’s daughter Edith, aged 3, by Mayall taken in 1847. 

Details can be found here and online bidding is available: https://www.the-saleroom.com/en-gb/auction-catalogues/lacy-scott-and-knight/catalogue-id-srlac10234?searchTerm=daguerreotype&whereToSearch=%2Fen-gb%2Fauction-catalogues%2Flacy-scott-and-knight%2Fcatalogue-id-srlac10234

The summary lot descriptions are; 

Originally developed over 300 years ago, and widely used until the mid-twentieth century, magic lanterns were a spectacular tool of science. From Augustan coffeehouses and university lecture theatres to school classrooms and factory floors, magic lanterns were used to inform, educate and entertain.

In the final lecture of our series, members of the museum team will put some magic into the history and philosophy of science as they explore the history of magic lanterns and our museum collection. Laura, Paul, Polina and Mike will examine how these instruments worked, how they were used in communicating science to a variety of audiences, how they (and Yorkshire!) played a part in the growth of social campaigning and the birth of modern cinema, and how objects like these can be used to uncover and publicise histories that other sources can’t.

Please join us to celebrate the culmination of our two-year series. As usual, the lecture is open to all – for all backgrounds and ages with no prior knowledge assumed – and will be recorded and made available for download after the event. Tea & coffee will be served beforehand from 6:15, and after the lecture there will be a chance to see just what can be done with magic lanterns and slides over a celebratory drink!

You can register for the event for free at https://www.eventbrite.com/e/history-philosophy-of-science-in-20-objects-lecture-20-tickets-40835359660

'History & Philosophy of Science in 20 Objects', hosted by the Museum of History of Science, Technology and Medicine at the University of Leeds. Tuesday 5 December at 6:30pm in the Rupert Beckett Lecture Theatre.

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 and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.

Identification of photomechanical prints

April 12-13, 2018 at Papierrestaurierung Hildegard Homburger, 10555 Berlin, Germany

Hosted by Hildegard Homburger in cooperation with the Internationale

Arbeitsgemeinschaft der Archiv-, Buch- und Grafikrestauratoren

(IADA)  http://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

From 1 December, London's Bertha DocHouse cinema is screening Love, Cecil (2017 / 99 mins) the new film from documentarian Lisa Immordino Vreeland. The film is a portrait of the celebrated and sometimes controversial photographer and costume designer, Cecil Beaton, who won multiple Academy Awards for his work on Gigi and My Fair Lady.

Tracking his fifty year career which spanned multiple worlds from British royalty to fashion to Hollywood, Love, Cecil offers a warm yet frank reflection of his life. Filmmaker Lisa Immordino Vreeland (Diana Vreeland: The Eye Has To Travel, Peggy Guggenheim: Art Addict) weaves passages from Beaton’s diaries – voiced by Rupert Everett – with archival interviews featuring his famous friends and foes to bring Beaton’s world to life.

Further information about the film, including a trailer, can be found here: http://dochouse.org/cinema/screenings/love-cecil.

The British Journal of Photography carries an interview with the newly formed Canadian Photography Institute's Director Luce Lebart. The Institute is at the National Galleries of Canada, and is part-supported by David Thomson's influential Archive of Modern Conflict. 

Read the interview here

Find out more about the Institute here.  

This conference addresses the rich relationship between photography and visual history at the intersection of material practices. Recent focus on materiality and material culture of photographs and films by such authors as Elizabeth Edwards, Chris Morton, Gregg Mittman, Paula Amad, Jennifer Tucker, Joan Schwartz, Steve Edwards and many others has resulted in the proliferation of histories that have at their centre a range of photographic processes. The actors in these histories could be said to belong to a sort of ‘gestural collective’ (Sibum, 1995), churning out the stuff of visual history. For historians who have benefitted from increasing access to the materials of visual history, the gap in knowledge about material practices has been rendered more defined.  At the same moment, it seems increasingly difficult to access these material practices as analogue is forgotten and digital is less well understood. Historians have examined the affective and fluid qualities of photographs, and have turned their attention to past chemical processes and processing, and have attempted recreating them. Photographic technologies such as cameras and lantern projectors have also experienced a renovated interest. Visual histories are more and more about the physical qualities of photographic production, circulation and dissemination.

Photography, video and film, however, are not only historical sources, but active research outputs. Historians like Gregg Mitman and Peter Galison have become filmmakers, producing films, websites, and documentaries (The Land Beneath our Feet, and Containment respectively). Their research is not only based on visual materials, but also articulated in a visual way. The visual is, in their case, a ‘form of reasoning’. This is not the only way in which material practices have changed visual history. The multiplication of digitisation projects in all historical fields demonstrates a pervading interest in visualising data, opening new avenues for the exploration of large collections of images. Aware of the potential of this approach, many universities have started to teach visual history in a range of departments.

The PHRC Annual Conference 2018 is seeking proposals for 20-minute papers on intersections of material practices and visual histories. It wishes to explore questions such as, how can we do visual histories, and how can visual history account for the material aspects of photographic practices.

We invite proposals related but not limited to the following themes:

• Material archives
• Visual history and pedagogy
• Processes and practices of digitalisation
• Visual communication through photography and/or film
• Re-creating the past
• Material aspects of computer programming in visual history

Proposals must be between 250 and 300 words, clearly indicating the applicant’s name, title, affiliation and email address.

Submission deadline: 5 January 2018

For any queries please email: phrc@dmu.ac.uk

See more here: https://photographichistory.wordpress.com/annual-conference-2018/

As the V&A prepares to make the RPS Collection accessible through the V&A study rooms and collections website, we have an exciting opportunity for a cataloguer for the collection. This fixed term position will run until end of March 2018 in the first instance to prepare documentation. The project will ensure the widest possible access to this important resource, both online via the V&A's 'Search the Collections' site and via the Prints and Drawings Reading Room. 

Read more here

Closing date for receipt of applications is 23 November 2017.

Tim Greyhavens has launched North American Photographic History, modelled on BPH as 'a place where students, academics, scholars, and independent researchers of the history of photography in North America can connect with each other. Here you can reach out to others with your photographic news, announcements, commentaries, inquiries, job notices, and anything else you feel may be of interest to the broader photographic history community'.

See more and sign up here: https://northamericanphotohistory.ning.com

BPH is particularly pleased to see that Paris Photo-Aperture Foundation PhotoBook Awards Photography Catalogue of the Year  is New Realities: Photography in the 19th Century by Mattie Boom and Hans Rooseboom (Rijiksmuseum/2017). The BPH review of the exhibition was enthusiastic about both the exhibition and catalogue (see; http://britishphotohistory.ning.com/profiles/blogs/exhibition-new-realities-photography-in-the-nineteenth-century-am)

On the winner of the Photography Catalogue of the Year, Natalie Hershdorker said, “New Realities takes what might be considered ‘dusty’ material of the nineteenth century and brings new perspectives and fresh design to enliven this classical material. It’s an important example of how to preserve and capture new interest in the history of photography.” 

See all the winners and more here.

To mark the rebranding and renaming of the National Science and Media Museum, this year’s conference will explore research into sound and vision in museums. It will also showcase research from across the Science Museum Group, its partners, and collaborators in HEIs.

See link below for the full programme, which includes a mix of SMG staff members and CDA students, as well as researchers from UK and international universities.

As well as papers in the plenary sessions, the conference will include round-table discussions, lightning talks and optional live performances, as well as the opportunity to experience the Museum of Portable Sound and ADAPT Live!

Delegates are also invited to a drinks reception and private view of the museum's new exhibition.

See the full programme and book here: https://www.scienceandmediamuseum.org.uk/whats-on/2017-science-museum-group-research-conference

This autumn, the V&A will explore how trees have been a source of inspiration to photographers all over the world, from the earliest practitioners to the present day. This display features photographs by celebrated artists such as Ansel Adams, Alfred Steiglitz and Agnes Warburg who consistently responded to trees as a subject in their work. Into the Woods: Trees in Photography will be the first display that draws on works from both the recently transferred Royal Photographic Society (RPS) collection and the V&A permanent photographs collection ahead of the opening of the new Photography Centre in 2018.

From an early example of manipulated photography made in 1839 by Johann Carl Enslen, a German painter inspired by Henry Fox Talbot’s work in England, to recent photographs such as Tal Shochat’s work in which she applies the conventions of studio portraiture to photographing fruit trees, the display will demonstrate the fascination that trees have held for artists. It will include a study of an ancient oak tree (1854) by William, Second Earl of Craven, who custom-built a horse-drawn van which acted as both camera and darkroom on his estate in Berkshire; recent work by Tokihiro Sato made in the forests of the Hakkoda Mountains in Japan; and prints by Awoiska van der Molen who created long exposures of the dramatic volcanic terrain in the Canary Islands.

Trees were among the first photographic subjects collected by the V&A as a resource for artists and designers, such as Edward Fox’s pairings of summer and winter trees seen from the same vantage point that became part of the collection in 1865. The V&A has continued to acquire photographs of trees in various contexts: within landscapes and forests, as lone subjects, in relationship to humans, in rural and urban settings, and as symbols of cultural significance. The display will also include historic works by Edward Steichen, Henri Cartier Bresson, Paul Strand and Lady Clementina Hawarden, alongside contemporary artists Simone Nieweg, John Davies and Stephen Shore.

While photographs of trees have served as botanical and topographical illustration, contemporary photographic artists have also looked to trees for creative expression. Like portrait subjects, isolated trees convey individual and national identities and can mirror our characters and moods. Robert Adams highlights the human impact on the environment in an image showing a pair of deciduous trees contending with the smoggy Californian cityscape beyond, dominated by rows of palms. Sheva Fruitman captures an urban scene where a pair of tree trimmers appear like a performance of marionettes in silhouette. Gerhard Stromberg’s felled Sussex woodland shows traditional coppicing in action: cutting back to encourage new growth. Carried out in the UK since at least the 16th century, the practice creates poles used for buildings, furniture, fencing, charcoal and many other functions.

The display marks the 800th anniversary of the Charter of the Forest, signed in 1217 by King Henry III, to protect the rights of free men in England to access and use the Royal Forests – and the launch of the 2017 Charter for Trees, Woods and People to protect trees and woods in the UK.

V&A Museum, Room 38A
from 18 November
see: https://www.vam.ac.uk/exhibitions/into-the-woods

Image: Samuel Bourne, Poplar Avenue, Srinuggur, Kashmir, from the end, 1864

At a time when individual rights are being contested and those on the fringes of society feel ever more marginalised from mainstream political and social narratives, the exhibition Another Kind of Life: Photography on the Margins, celebrates and explores photography’s enduring relationship with individuals and communities who operate on the margins or openly flout social conventions through the work of photographers including Paz Errazuriz, Casa Susanna Collection, Mary Ellen Mark, and Pieter Hugo amongst others.

Driven by motivations both personal and political, many of the photographers in the exhibition sought to provide an authentic representation of disenfranchised communities, often conspiring with them to construct their own identity through the camera lens. Featuring a cast of transsexuals, cross-dressers, prostitutes, hustlers, bikers, junkies, eccentrics, circus performers, street urchins and tearaways, gang members, back-street peddlers and survivalists, the works in the exhibition present the outsider as an agent of change. The non-conventional subject is here a prism through which to view the world afresh. 
 
Artists have historically been instrumental in presenting the image of the outsider for a wider public. Employing a diverse set of aesthetic strategies from portraiture to social documentary and vernacular to street photography, the artists in the exhibition approach their subject with a humanity and empathy that is both empowering and inclusive. 
 
Reflecting a more diverse, more complex and more authentic view of the world, Another Kind of Life: Photography on the Margins touches on themes of gender and sexuality, drugs, youth culture and minorities of all kinds and includes bodies of work from Japan to the US, and from Chile to Nigeria. By recording and documenting those on the margins, the images in the exhibition bear witness to how social attitudes change across time and space, charting how visual representation has helped shape current discourse in relation to marginalised or alternative communities.

Another Kind of Life 
Photography on the Margins
Barbican Art Gallery, Barbican Centre
Wed 28 Feb – Sun 27 May 2018 

See more here: https://www.barbican.org.uk/another-kind-of-life-photography-on-the-margins

Over two-days a series of papers will discuss different aspects of French paper negatives including their history, their production and conservation. French institutions and museums hold impressive collections of negatives, and this conference is a way to look at these objects from several perspectives.

The two days are organized in three multidisciplinary and thematic sessions. The historical significance of these negatives will be complemented by their chemical and physical characterization (Session 1). Then, conservation challenges will be discussed, in regards to exhibition matters (Session 2). Finally, a last session will be dedicated to contemporary and artistic practices of paper negative and related processes (Session 3). A panel discussion will close the conference.  

This conference is a follow up on a research programme on French paper negatives (1841-1860) conducted at the Centre de Recherche sur la Conservation, in partnership with the Centre de Recherche et de Restauration des Musées de France and the Bibliothèque Nationale de France, funded by the Fondation des Sciences du Patrimoine in 2016 and 2017.

The conference will be held on December 7 and 8, 2017 in the Jean Rouch auditorium at the Musée de l’Homme, in Paris, that re-opened in 2015. Registration is free but the seats limited (157 seats). Simultaneous translation into English will be available. This conference is organized with the support of the International Research Network on Photography « Photographs: Perception and Changes », funded by the Centre National de la Recherche Scientifique (CNRS).

See more and sign up here: https://calotype-2017.sciencesconf.org/

The sessions will be filmed and will be made available in 2018.