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If anyone is at a loose end around the North East of England, please come along and join me at this exhibition of photographic works, including rare prints by Lyddell Sawyer, Frank Sutcliffe, Rosalind Maingot as well as images from across the world, some in their original leather bound albums from the 1860's. Works by Auty and Ruddock partnership including a stunning book designed as jewelery.

All are welcome.

And thank you to all who have shared their knowledge on here, it has come in very handy when researching the works and photographers included in the exhibition.

Art from the Lens Gallery.
From 30 October - 4 November 2025
9.30am – 7.00pm

Bottleworks
8 Riverside Walk
Byker
NE6 1LX
https://www.bottleworks.uk/

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

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

Range of Awards: $500 - $2,000

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

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

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

Application and information can be found at The Humboldt Area Foundation

I have been invited to give a talk to the Marsh Forum which is made up of local history groups in Nottingham and the county. My talk 'Pioneers of Photography' uses much of the research carried out by Pauline and Bernard Heathcote, of course, and features Bromley House quite prominently. The talk is at Nottingham Central Library, Carrington Street, Nottingham on 18 October at 10.30. Admission is free but seats need to be booked. nottinghamcitylibraries.co.uk/pioneers-of-photography/

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

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

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

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

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

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

Image: 24.39 fair, Paris. Courtesy: Stefan Fiedler

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

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

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

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

Are you LGBTQIA+ or non-heterosexual?  Do you have experience of darkrooms in the home or in spaces that feel like home to you?  If so, then this project is for you!  I wish to speak to people who have experience of one or multiple of the following as part of my PhD research:

• Have you ever made or owned a home darkroom, permanent or semi-permanent, in Britan?

• Do you work with analogue and/or alternative photographic processes at home?

• Do you have memories of home darkrooms? Has this influenced your photography?

• Do you have experience of setting up or running a home or community darkroom?

• Have you been part of a community darkroom that felt like home?

If you are interested in learning more, please get in touch by:
Email: m.warren@westminster.ac.uk
m: 07902489831

Leaflet version of the above text can be found here

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

Main responsibilities 

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

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

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

Your skills and attributes for success:

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

Full details and apply here

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

His archive will be held with the Bodleian Libraries. 

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

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

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

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

The W. W. Winter Heratige Triust (WWWHT) are looking for a Treasurer and new trustees to help build a sustainable future for one of Britain’s oldest photographic studios offering public and community benefit. We would welcome applications from those with skills and knowledge of accountancy, legal services, project management and fundraising.

We would also welcome applications from Derby’s local communities serviced by the studio.

ORGANISATION OVERVIEW:
Winter’s historic studio and archive of images will bring communities together, building a deep appreciation, locally and nationally, for Derby’s pioneering industrial and cultural heritage. Preserving past skills, whilst embracing the latest advances in photography to engage, inspire and foster creativity and human connection.

OBJECTIVES
• Preserve & Share – Digitally and physically safeguard Winter’s unparalleled photographic collection telling the story of Derby, its people, industries and culture, making it accessible to all, whilst ensuring that contemporary stories are preserved for tomorrow.
• Refurbish & Reimagine – Revitalise the world’s oldest purpose-built photographic studio, ensuring it remains an active, vibrant space evolving for future generations.
• Engage & Inspire – Use photography to bring communities together, spark creativity, and encourage cross-generational and cross-cultural storytelling.
• Innovate & Evolve – Embrace both historic and emerging technologies to explore the evolving role of photography in human connection and history.
• Sustain & Grow – Develop a sustainable future for Winter’s, where commercial photography services support our wider cultural, artistic, and educational activities.

ROLE DETAILS:
The Trustees share responsibility for the sustainable future of the Winter’s photographic studio and the development and delivery of engagement activities organised by WWWHT.
The Trustees also represent the organisation to a range of internal and external stakeholders, ensuring effective relationships within the community.
Trustees are expected to bring their own personal experience, knowledge and skills to the role to further the objectives of the WWWHT.
The Treasurer is also responsible for keeping records of and reporting on the WWWHT income and expenditure, both to board and to the Charity Commission.

TIME COMMITMENT:
6-8 hours a month

ATTENDANCE:
Monthly meetings – 2 hours online
Quarterly meetings – 4 hours in-person

ROLE DESCRIPTION:
Trustees are expected to attend board meetings and where appropriate sub groups working on specific tasks. They will also assist in the development of funding applications, activity plans and forward planning. Trustees also have an important role in raising the profile of the charity within their own communities and beyond. The role is likely to evolve in the future as WWWHT progress our objectives.

REQUIRED SKILLS AND EXPERIENCE:
Personal Qualities
• Friendly and approachable
• Clear communication skills, both written and verbal
• Happy to volunteer on evenings and weekends when required
• Enthusiasm or interest in photography
• An empathy with the needs of others

EDUCATION, EXPERIENCE AND KNOWLEDGE:
Previous trustee experience is not necessary, but a willingness to gain knowledge of charity law, good governance and operation relevant to WWWHT and it’s work is essential.

SKILLS:
Essential
• Good team working skills
• An ability to listen and understand multiple viewpoints
• Experience and knowledge of good accountancy practice (Treasurer only)

Desirable
• Knowledge of charity law and the implications of the Subsidy Control Act
• An understanding of Copyright law
• Experience of the development of a fundraising strategy and preparing grant applications
• Experience of project management
• Knowledge of Arts Council England and National Lottery Heritage Fund grant opportunities.
• Knowledge of connections to local Derby community groups
• Experience of completing annual reports and submitting them to the Charity Commission

 Closing Date: 31st October 2025

W. W. Winter Heritage Trust

To Apply or express an interest in this position please email – office@winterheritagetrust.org or phone 01332 345224 

Hello - is anyone able to tell me more about the Travelling Light publishing group? collective? active in London during the 1980s? I know that Heather Forbes and Peter Turner were part of the group but does anyone know who else was? Paul Cox? A quick interent search has turned up the following books published by the group:

Murmurs at every turn: The photographs of Raymond Moore, 1981.
Power: British Management in Focus, 1981, Brian Griffin.
Visions of China, 1981, Marc Riboud
A few days in Geneva: Photographs (Contemporary photography series), 1988, Mari Mahr.
Beautiful ambrotypes: Early photographs, 1989, Paul Cox & Heather Forbes.

Lissa

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Seeking information about, and images by, the Grice Frères who operated in Port-au-Prince Haiti ca 1860-1865, also imprints and images by Francis H. Grice, William Grice, George Grice, and Hezekiah Grice Jr., and identified daguerreotypes of Haiti by A. D'Orthon Hartman(n) and other Caribbean daguerreotypists. My thsnks in advance for any assistance that can be provided.

Email: Jeremy.rowe@asu.edu

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

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

Photo: Rose Teanby / Chatsworth.

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

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

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

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

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

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

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

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

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

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

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

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

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