Blogs

Inconjunction with an exhibition at The Photographers' Gallery, London, is this associated publication. Whippersnappers is the first book to tell the history of children as photographers, from school societies in the 1880s, via post-war camera clubs and radical 1970s workshops, to the coming of digital cameras.

Annebella Pollen shows how photography was presented and promoted to children — by camera companies, comics, and teachers — and how the children themselves chose to use it. They include the girls whose trick photographs of the Cottingley Fairies first fooled, then angered, the nation; and the family given cameras and limitless film for a year by a national newspaper.

Tracing photography’s movement from elite pastime to accessible hobby, including a wealth of photos taken by children — of pets and friends, teachers and toys, fairies and ghosts — it presents a unique child’s-eye view of the world, seen through the camera.

Whippersnappers: How Children Became Photographers
Annebella Pollen
Four Corners Books, 2026
Hardback with cut-flush cover
24 x 19 cm, 330 pages
£25
978-1-909829-26-8
To be published: 25 September 2026
Preorder here: https://www.fourcornersbooks.co.uk/books/whippersnappers/

Golden Age topographical postcards offer valuable insights into local history, but few identify the photographer, which consigns most pictures to the difficult area of orphaned works. Recent developments in 'risk aware' publication have freed some images from a further forty to sixty years of legal limbo, but not everyone has resources robust enough to pursue that path. One small community organisation is exploring a relatively risk averse way of enlisting public help in identifying photographers of the 500+ postcards that show its local scenes from the 1900s to 1920s.

Brislington Community Museum (Bristol, UK), has launched an exhibition of hundreds of such problematical postcards in the hope their photographers may be identified. A range of measures have been taken to keep the images legal (including putting a time limit on the exhibition). A dozen photographers are known already - from all over the British Isles - and those whose works are out of copyright have been published freely online (and archived at the British Library). Help is needed to find the other photographers whose works form the remaining 85% of this local resource.

Full details of this project can be found online (https://www.brislington.org/gallery/postcards/publishers2.html) until the end of August.

This August, Photofusion, in partnership with The Centre for British Photography and The Hyman Collection, presents Nice Day for It! The British Summer in Technicolour. This vibrant group exhibition brings together definitive imagery from British documentary history, celebrating the humour, spectacle and eccentricity of the classic seaside holiday. Spanning six decades of social history from the 1960s to the 2010s, the exhibition features work by Anna Fox, John Hinde Studio, The Caravan Gallery, Daniel Meadows and Martin Parr; photographers who shaped the way the nation views itself.

Filled with saturated colour, kitsch aesthetics and affectionate social observation, the exhibition explores traditional holiday resorts as theatrical spaces where leisure, identity and nostalgia meet. From Hinde’s pioneering 1960s postcard imagery to Fox’s sharply observed contemporary portraits, Nice Day for It! offers a playful look at the British summer as an enduring part of national identity and a backdrop for everyday absurdity.

A programme of events associated with the exhibition will be announced shortly. 

Nice Day for It! The British Summer in Technicolour
12 August – 5 September 2026
Photofusion, Unit 2, 2 Beehive Place, London. SW9 7QR
Free admission, 1000-1800
See: https://www.photofusion.org/gallery/nice-day-for-it

Image: Ocean Hotel, from the series Resort 1, 2011 © Anna Fox

The Herschel Society has organised a one day conference devoted to Sir John Herschel, William Henry Fox Talbot and their achievements and contemporary legacy. Three panels will look at Herschel,Talbot and their circle; photography origins and acceptance 1834-1851, and historic photographic processes and contemporary practice, each with respected speakers. The event will be held at Bath's Royal Literary and Scientific Institution. Speakers include: Andy Cochrane, Kelley Wilder, Sara Stevenson, Anne-Lou Buzot; Rose Teanby, Anthony Hamber, Sian Prosser; Jo Gane, Kristina Chan and Caroline Douglas.

Full titles, synopsis and speaker biographies will be available to registrants.  

The conference coincides with an exhibition on Herschel and Talbot at the Herschel Museum of Astronomy and No 1 Royal Crescent opening in September. Details to follow.

Early British Photography and its Contemporary Legacy
12 September 2026, 0945-1730
Bath: BRLSI, 16 Queen Square, and online
See the fuull programme and book here

Image: William Hnery Fox Talbot, Lansdowne Crescent, Bath, 1847; The British Library, gift of Janet and Petronella Burnett-Brown, 1 March 2006. 

Through photographs and archives, Snap Happy! celebrates the creativity, curiosity and distinctive perspectives of generations of young photographers. Do you remember your first camera? Or the first photograph you took? Snap Happy! explores the history of children as photographers. From post-war camera clubs to magazines and photobooks designed for young people, this exhibition traces photography’s movement from elite pastime to accessible and popular hobby.

Featuring archives of advertising, manuals, comics and toys, Snap Happy! shows how photography became more mainstream and much loved by younger generations. From snapshots of family, friends and pets to school projects and photographic experimentation, Snap Happy! celebrates a child's eye view of the world through the camera.   

Snap Happy! is curated by Annebella Pollen, Professor of Visual and Material Culture at University of Brighton, UK, where she researches undervalued archives and untold stories in art and design history. 

Supported by the Leverhulme Trust. The exhibition and book are part of the outcomes from Pollen's £100,000 Leverhulme grant award made in 2021. 

Whippersnappers: How Children Became Photographers by Annebella Pollen will be published on 25 September by Four Corners Books at £25. See details here and pre-order.

Snap Happy! How Children Became Photographers
14 October 2026 - 21 February 2027
London, The Photographers' Gallery
See: https://thephotographersgallery.org.uk/whats-on/snap-happy-how-children-became-photographers

Images: (top): Robert Cooper ‘Self-portrait with Agifold’, c.1964-67 © Robert Cooper; (left) Mae and Ira Freeman, ed. by Gordon Catling, Fun with Photography (Edmund Ward, 1962), cover.

DCMS has published the V&A Museum's annual report and accounts for 2025-26. Of particular interest are that the Julia Margaret Cameron touring exhibition Arresting Beauty which featured 98 objects from the RPS Collection and V&A's collection was seen by 106,000 people when it was shown at The Morgan Library & Museum, New York.

The RPS digitisation project The rerport also acknowledges the support for the RPS digitisation project from TheBern Schwartz Family Foundation, The William Brake Foundation and The Ampersand Foundation, among others.

In terms of the museum's collection it records it holds approximately 250,000 objects from the Royal Photographic Society Collection, although the reports notes that the Collection is yet to be fully catalogued.

Read the full rpeort here

Professor Geoff Batchen has retired from his post as Head of Department and Professor of Art History at Trinity College, Oxford, having reached the university's contractual retirement age. Batchen presented a farewell lecture: Going Postal. Photography and Exchange on 17 July.

Geoffrey Batchen was appointed to the Professorship of the History of Art at the University of Oxford on 19 May 2019 and he officially took up the post on 1 January 2020, at which time he also became a fellow of Trinity College. During his tenure he has supervised a new generation of PhD students bring new approaches and insights in photographic history, He curated the Bodleian exhibition A New Power. Photography in Britain 1800-1850 in 2023. He was actively involved in the appointment of the library's new post of Curator of Photography.

Going Postal investigated the history of 'mail art', focusing on the intersection of photographic images, hand-written correspondence, and the global postal system. It explored how photographs circulated through the mail—such as vintage postcards and private letters and transformed personal correspondence into a distinct medium of visual, artistic, and social exchange.

Batchen's biography from the History of Art department is below: 

GEOFFREY BATCHEN (BA PhD Sydney) holds the Professorship of the History of Art in the Department of the History of Art and the Faculty of History. Professor Batchen is a Fellow of Trinity College.

Professor Batchen's work as a teacher, writer and curator focuses on the history of photography.  His publications include Burning with Desire: The Conception of Photography (1997); Each Wild Idea: Writing, Photography, History (2001); Forget Me Not: Photography and Remembrance (2004); William Henry Fox Talbot (2008); What of Shoes: Van Gogh and Art History (2009); Suspending Time: Life, Photography, Death (2010); Emanations: The Art of the Cameraless Photograph (2016); Apparitions: Photography and Dissemination (2018); and Negative/Positive: A History of Photography (2020).  He has also edited Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida (2009) and co-edited Picturing Atrocity: Photography in Crisis (2012). His curated exhibitions have been shown at, among other places, the Museu Nacional de Belas Artes in Rio de Janeiro; the New England Regional Art Museum in Amridale, Australia; the Van Gogh Museum in Amsterdam; the National Media Museum in Bradford, UK; the International Center of Photography in New York; the Wallraf-Richartz-Museum in Cologne; the Izu Photo Museum in Shizuoka, Japan; the National Museum of Iceland in Reykjavik; the Adam Art Gallery in Wellington, New Zealand; the Govett-Brewster Art Gallery in New Plymouth, NZ; and the Centre for Contemporary Photography in Melbourne, Australia.

Professor Batchen is the Head of Department for 2025-2026.

Born and raised in a liberal Jewish family in Vienna, Edith Tudor-Hart’s legacy is defined by her pioneering social photography and her pivotal role in the recruitment of Kim Philby as a Soviet agent. Arrested for her involvement with socialist groups, Edith emigrated to England in 1933 to escape political and religious persecution. There, her photography came to reflect her socialist ideals, and her clandestine work for the Soviet Union meant she would spend the rest of her life under the suspicion and close surveillance of MI5.

The Darkrooms of Edith Tudor-Hart is the culmination of Peter Stephan Jungk’s enduring fascination with his cousin’s life. His vivid portrait reveals a woman whose life was shrouded in secrecy and whom – in his confession to MI5 a decade before Edith’s death – the Soviet spy Anthony Blunt called ‘the grandmother of us all.’

Peter Stephan Jungk is an Austrian-American novelist, non-fiction author, and documentary filmmaker. His notable works include Crossing the Hudson, The Perfect American and The Snowflake Constant. 

The Darkrooms of Edith Tudor Hart
Peter Stephan Jungk, translated by Nick Caistor and Amanda Hopkinson
Haus Publishing, May 2026
£20, 280 pages, hardback
See: https://www.hauspublishing.com/product/the-darkrooms-of-edith-tudor-hart/

The AmberSide Trust, one of the UK’s most significant documentary and film collections has received £242,508 from The National Lottery Heritage Fund for Relocating Amber, a major new project that will protect the world-renowned AmberSide Collection while expanding public access to it across the North East.  The project will bring one of the UK’s most significant documentary photography and film collections on loan to Newcastle University’s Special Collections, enabling people to encounter the Collection through exhibitions, screenings, education and community programmes across the region. 

Built over more than five decades, the AmberSide Collection contains more than 20,000 photographs, around 100 films and extensive paper and digital archives documenting working class communities, mining, shipyards, housing, protest, youth culture, family, migration and everyday life across the North East and beyond. Key elements of the Collection were inscribed onto UNESCO’s UK Memory of the World Register in 2011. 

Under the custodianship of Newcastle University Special Collections, the preservation of the Collection will be supported within specialist archival facilities, whilst opening the works up to new opportunities for public access, research, teaching and engagement through Newcastle University Library.

At the same time, Side, the delivery team for the AmberSide Trust’s exhibitions, will expand the screening and public programmes through collaborations throughout the North East.  Rather than being centred in a single venue, Side and its partners will bring photographs, films and local histories directly into the communities they were made with and about, through exhibitions, screenings, talks and events across the region.

The project will also create new pathways for photographers, artists, filmmakers and heritage practitioners. From Side’s new curatorial office at Baltic Centre for Contemporary Art, practitioners will be able to access the Trust’s reference library, and receive portfolio reviews and project advice, supporting the development of new documentary work rooted in place, research and social engagement. 

Amber Education will continue to use the Collection in classrooms, connecting children and young people with local history, place and lived experience through inter-generational community projects centred around photography and film. 

Laura Laffler, Managing Director of the AmberSide Trust said:“The AmberSide Collection was built through long-term relationships with communities across the North East. This project protects that work for the future while opening up new ways for people to encounter and use the stories it contains. Through collaboration with Newcastle University, Side’s regional programme, Amber Education and our new curatorial office, we can care for the Collection properly while sharing it more widely and supporting the next generation of documentary practitioners.”

Jill Taylor-Roe, Director of Academic Services and the Newcastle University Library said:  “Newcastle University is proud to partner with Amber to safeguard their incredible archive, which has documented and celebrated working-class culture for more than fifty years. Our nationally accredited archive service will curate the collection to ensure that future generations may benefit from access to these resources. We look forward to enabling wider community engagement with the archive and are excited by the opportunities that will be afforded to students and researchers through having enhanced access to this  iconic collection.”

Helen Featherstone, Director, England, North at The National Lottery Heritage Fund, said:  “Preserving heritage is very important to us at The National Lottery Heritage Fund and we’re proud to be able to support the safeguarding of this incredibly significant collection thanks to National Lottery players. Working with Newcastle University, it is fantastic news that AmberSide Trust will unlock many new opportunities for the public to engage with this important archive that showcases and celebrates the wonderful heritage of the North East.”

Using money raised by National Lottery players, The National Lottery Heritage Fund supports projects that connect people and communities with the UK’s heritage. Relocating Amber is made possible with The National Lottery Heritage Fund. Thanks to National Lottery players, Relocating Amber will support collections care, conservation rehousing, archive integration, digital access, education activity, practitioner development and a new programme of exhibitions, screenings and public events across the North East. 

This project marks a major new public chapter for the AmberSide Collection, protecting a nationally significant archive while ensuring stories of working-class life, community memory and social change remain public, local and active.  

See: https://sidegallery.co.uk/blog/relocating-amber?mc_cid=ebcb71304e&mc_eid=b48467438a

Newcastle University
Special Collections & Archives
email: libraryhelp@ncl.ac.uk
t: +44 (0) 191 208 7712
Special Collections & Archives, Philip Robinson Library, Jesmond Road West, Newcastle upon Tyne, NE2 4HQ

It is an absolute pleasure to share the news that my article ✨‘The Garret Photographic Studio’ How the Home Darkroom Facilitated Everyday Queer Image Making ✨is now live on the Eidolon Journal website!

This essay is published in conjunction with Eidolon Club Vol. 12: The People's Pictures which was an afternoon of talks on vernacular photography held on 27 March 2026 at Fyvie Hall, University of Westminster, organised by Eidolon Centre and Photoworks_UK in collaboration with the University of Westminster. Alongside the event, a call for papers was extended to university students, with selected work to be considered for publication in Eidolon Journal. My essay on the Reg and George Collection held at Amgueddfa Cymru – Museum Wales, was the selected contribution! ❤️

In the article, I discuss one of the case studies I have been focusing on as part of my PhD research. The Reg and George Collection is so rich with photographic material of which I have barely scratched the surface! Reg and George were a gay couple who ran B&B buisnesses in Wales from the early 1970s but prior to this they lived in Bournemouth where George worked as a professional photographer. His first itteration of the business - the Garret Photographic Studio - was a domestic/studio/darkroom space. In the article I discuss how the queered photographic domestic space facilitated image making during the criminalisation of homosexuality and the obscene publications act.

It has been such a pleasure to work with the Eidolon team and getting to write about queer photographic history 🥰 

‘The Garret Photographic Studio’. How the Home Darkroom Facilitated Everyday Queer Image Making
Molly Caenwyn
See: https://everydayphotography.org/journal/the-garret-photographic-studio

The Birmingham-based documentary photographer, graphic designer and jazz researcher, Brian J Homer died on 10 July aged 79 years, after a short and sudden illness. Brian's work was always political (with a small p). With a large archive of work from the 1970s to the present he told Paul Hill for a piece in Amateur Photographer magazine "there was a social purpose to the documentation, but people are now fascinated by how places and people looked half a century ago". His work was prescient and remains relevant today.  

Brian co-founded and worked on Grapevine and Broadside Magazines in Birmingham between 1971 to 1979. Grapevine reached a peak of 3000 sales and ran from 1971 to 1975. In 1975 he edited Brum Book a guide book to Birmingham before co-founding another magazine similar to Grapevine -  Broadside - which ran from 1976 to 1979. Brian was part of the original Handsworth Self Portrait project with Derek Bishton and John Reardon in 1979, with whom he also co-founded Ten8 magazine which launched in 1978. Ten.8 provided a forum for West Midlands-based photographers to come together and share images and ideas. It was described by the Jamaican scholar Professor Stuart Hall as “the journal which has most systematically explored the relationship between how we represent the world photographically, the knowledge which these images produce and their implications for power and politics”. It was the subject of a special display at the Photographers' Gallery between 2024-2025.

Alongside his own documentary photography which documented Birmingham and elsewhere internationally from the 1970s these included the Grunwick dispute march in Birmingham in 1978 and Rock Against Racism march in London in 1978. He was commissioned by Peter James of the Library of Birmingham in 2013 to produce 1000 portraits which were shown on a large screen in the library. 

His archive is housed in the Art, Design and Media archive at Birmingham City University. It comprises of a full set of Grapevine and Broadside Magazines together with a copy of Brum Book. Brian co-founded, with Trevor Fisher, Grapevine a what's on and news magazine based in Birmingham. Run mainly by volunteers who did everything from writing, design and layout to distribution.  The archive for Handsworth Self Portrait was accepted in to the Bodleian Library, Oxford, in 2024. It includes notebooks, organisation and financial information, publicity posters, press cuttings, the original negatives and a very full set of more than 200 matched scans and prints.

From 1978 to 2015 Brain ran a design agency and was an active photographer documenting the jazz scene. He was a member of the Jazz Research Cluster at Royal Birmingham Conservatoire and was collaborating with Dr Pedro Cravinho on Everyday Jazz Life a project exploring jazz musicians lives. His work featured in numerous publications including Café Royal's Saltley 1978-79 and Everyday Jazz Lives (with Pedro Cravinho) and his own photozine Birmingham 2025.

See: Brian's website: https://www.brianhomer.com/

Ten8 magazine history from Derek Bishton: https://derekbishton.com/other-stuff/legacy-ten8/

Handsworth Self Portrait: https://handsworthselfportrait.co.uk/

BCU Archive: https://www.bcu.ac.uk/arts/art-and-design-archive/collections/brian-homer-collection

Images: (top) Brian shown centre, bearded, at the Gruncwick dispute in 1978 taken by Derek Bishton with Brian's camera; (left, top), the first issue of Ten8 magazine created by Brian Homer and Derek Bishton; (right) portrait from Handsworth Self Portrait; (left, below) Everyday Jazz Lives. 

Made Together explores Amber Films’ place within the 1980s Workshop Movement, a short but important period in British film culture when collective, non-commercial and regionally rooted filmmaking was given national support.

Presented at Tyneside Cinema, the display looks at how Amber developed films through long-term relationships with communities, combining research, documentary observation, drama, local knowledge and trust. It focuses on four key works from the period: Keeping Time (1983), Seacoal (1985), Double Vision (1986) and In Fading Light (1989). Together, these films show Amber’s commitment to working with people and places over time, rather than arriving with a fixed story.

Through production stills, scripts, notes, flyers and archival material, the display traces a filmmaking practice shaped by class, labour, gender, regional identity and everyday life. It also reflects on the wider legacy of the Workshop Movement, which argued that film could be made differently: collaboratively, accountably, and from outside the usual centres of power.

Shoreditch, London, based visual arts charity Autograph has received the entire photographic estate of Jamaican-British photographer Armet Francis. This is a significant body of work that brings over 70,000 images into their permanent collection of photography. Spanning more than four decades, Francis’s work celebrates the resilience and survival of African diasporic communities. To mark the gift, Autograph is sharing a selection of rarely seen archival photographs in a new online display.

For over forty years, Armet Francis’ mission in photography has been to document the African diaspora. As a Jamaican-British photographer with an acute understanding of black consciousness, his life-affirming images celebrate the resilience and survival of African diasporic cultures. Francis is now recognised as a pioneering figure in the photographic canon, best known for his social documentary, advertising and fashion images.

Francis’ archive encapsulates fragmented experiences of Pan-African diasporic communities: his 1970s Brixton Market fashion shoots are playful and rare frames of black joy and celebration; his 2008 commemorative portraits of those who arrived on the HMT Empire Windrush in 1948 are critical interventions that gave names to the faces of those who journeyed on that historic voyage that changed Britain forever. The archive also contains his seminal series The Black Triangle which guided his photographic practice from 1969.

In 2024 Francis was awarded a grant by independent charity Art360 to receive support in maintaining his archive of work – including inventory management, legal consultancy, photographic and film documentation. As a result of the Art360 project, the photographer has gifted his works to visual arts charity Autograph where it will be cared for as part of their collection of photography. This gift comprises over 70,000 images, including negatives, prints and archival material documenting Francis' career from the late 1960s onwards.

Francis was one of the founding signatories of Autograph in 1988, making this acquisition particualrly significant for the organisation. The charity is proud to have worked with the artist over many years across several artist commissions and his acclaimed solo exhibition Armet Francis: Beyond the Black Triangle at their London gallery in Shoreditch. Since 1988, Autograph’s mission has remained unchanged: to championed photography and the work of artists that explores issues of race, identity, representation, human rights and social justice.

A new online gallery brings together a selection of these photographs, many of which have rarely been seen in public. Together they offer an insight into Francis' lifelong commitment to documenting the communities across Africa, the Americas and Europe. The online gallery can be viewed at: autograph.org.uk/armet-francis

This acquisition highlights the charity’s ongoing commitment to preserve the legacy of practitioners, like Francis, who have recorded important diverse narratives that have contributed to the representation of Black British history. Autograph’s Director, Professor Mark Sealy, said: “Armet Francis forged a photographic practice as an act of historical resistance: a visual counter-archive confronting the enduring violence of the Atlantic Slave Trade and its afterlives in contemporary Black diasporic life. From his exhibition The Black Triangle at The Photographer’s Gallery in 1983 to the self-publication of the book, which carried the same title in 1985, Francis’s work emerged from and spoke directly to the radical tradition of Black Consciousness. His radicality is expansive, restless, and deeply interdisciplinary, driven by an urgent commitment to rupture dominant narratives and open new ways of seeing Black subjectivity. Moving across fashion, portraiture, and social documentary, Francis became foundational to the development of Autograph ABP, insisting on Black photography not as a marginal practice, but as a transformative cultural and political force. It is therefore with profound pride that we announce the archives of Armet Francis will be preserved and cared for in their rightful home, Autograph, where they will continue to provoke research, sharpen critical discourse, and inspire future generations.”

Art360’s Head of Artists' Services, Daniel Rudd, said: “I’m delighted to see Armet Francis’s archive enter Autograph’s collection, ensuring that the work of one of the most important photographic voices of his generation is preserved, studied and shared with future audiences. It has been a privilege to support this project and to help secure a permanent home for such a significant body of work. This outcome reflects the vital role organisations such as Autograph play in safeguarding photographic heritage and would not have been possible without the dedication and expertise of archivist Clare Hewitt and artist Eileen Perrier. As part of DACS’s commitment to supporting artists and protecting their legacy, we are proud to have played a role in helping secure greater recognition of, and long-term access to, this remarkable archive.”

Images: (top): Armet Francis, Fashion Shoot, Brixton Market, London , 1973. © Armet Francis. Collection of Autograph, London; (Centre):  Armet Francis, from the series Lambeth and Brixton Tube , 1994. © Armet Francis. Commissioned by Autograph, London; (lower): Armet Francis, Fashion shoot for 19 Magazine , c.1973. © Armet Francis. Collection of Autograph, London.

Robert Hunt reviewing the photography exhibited at the 1851 Great Exhibition in the Art Journal's Illustrated Catalogue of Industry of all Nations, observes: '...Some examples of forest scenery,and picturesque bits, selected with artistic taste from "the ancestral homes of England," are perfect studies for the artist to dwell upon...these are the productions of Mr Shaw of Birmingham who unites the skill of an artist with the experience gained by the long study of chemical science.' 

Does this exhibited work of his, I wonder, survive?

BPH recently reported on a public artwork commission to commemorate the work of pioneering Birmingham photographer George Shaw. Run by Colmore Life a call opens today (Monday) for a public vote on the six shortlisted entries. The winning design will be installed on the glass panels at the Town Hall tram stop, creating a striking new piece of public art inspired by Shaw’s remarkable legacy. You can find more information about the open call and wider project here.

Each of the artists has taken a unique approach to interpreting George Shaw’s life, achievements and impact on Birmingham. Below, you can learn more about each artist, explore their proposed designs and read a short summary of their creative vision. The public vote will form part of the final decision, alongside the views of our selection panel:

• Roo Kaur Dhissou – Artist
• Jo Gane – Artist and Photographic Historian
• Alexander Goodger – Director, Stourbridge Glass Museum
• Mike Mounfield – Chief Technical Officer, Birmingham Colmore
• Anna Sparham – Curator of Photographs, National Trust
• Ian Sergeant – Senior Curator, Global Majority Collections, Birmingham Museums Trust

Voting will open on Monday 6 July and closes at 5pm on Monday 13 July.

Details and vote here: https://colmorelife.co.uk/vote-for-your-favourite-george-shaw-artwork-proposal/

London's Cinema Museum has a  once-in-a-generation opportunity to buy its premises, the historic Grade II listed Lambeth Workhouse. It needs to raise £500,000 in five months to seal the deal and end decades of insecurity - and potential eviction. The Museum is the UK’s only museum dedicated to the experience of cinema going and is volunteer-run with no public funding. 

The Cinema Museum in London's Kennington was founded by film enthusiasts and collectors Ronald Grant and Martin Humphries in 1984 and became a registered charity in 1986. Its collection showcases their vast private collection of cinema history, memorabilia, and vintage artefacts, collected - and rescued - over many decades. 

As the Museum notes its home is not just a building; it is a living piece of cultural history: 

• The Chaplin Connection: Before he became a Hollywood icon, a young Charlie Chaplin lived and worked in the building when it was the Lambeth Workhouse.
• A Treasure Trove of Cinema History: Inside these walls sits an unparalleled collection of art deco cinema seats, vintage projectors, ushers' uniforms, and classic film posters. The Chaplin family themselves call it "the nearest thing that Britain has to a Chaplin Museum"
• A Community Hub: We are a vibrant cultural centre hosting regular independent screenings, local events, and educational tours and provide free and subsidised space to help local charities and initiatives.
• A Supportive Effective Resource: our spaces and collections are not just for looking at - we use them to run projects that make a massive impact on people's lives, young and old. And we share them, with other charities and community groups, who are all part of making life better for everyone. 

To secure its buuilding and future the Cinema Museum has launched a Crowdfunder to secure the £500,000 needed - or would welcome a supportive benefactor...

See details here, lend your support, and share the call: https://www.crowdfunder.co.uk/p/the-cinema-museum-buy-our-home

See the Museum website: https://cinemamuseum.org.uk/

A newly created charity has been established to preserve the legacies of Lee Miller, Roland Penrose and their associates.The Farleys House & Gallery Trust cares for Farleys, and the legacies of Lee Miller, Roland Penrose and their associates. The Trust's overview notes its onjectives 'to conserve and catalogue the lifestyle and holding of work by Lee Miller, Roland Penrose and their associates. To promote worldwide scholarship and dissemination of the lives and work of Lee Miller and Roland Penrose in a manner commensurate with the artistic and humanitarian principles of the artists. To establish and maintain buildings and land associated with Lee Miller and Roland Penrose.'

The new Trust was registered on 25 March and the trustees for the Farleys House & Gallery Trust are: Ami Bouhassane, Dr Patrick Elliott, Christine Erwood, Sarah Hopwood, Amanda Nevill CBE, Antony Penrose, and Eliza Penrose.

See: Charity Commission entry here
and website: https://www.farleyshouseandgallery.co.uk/about-farleys-house-gallery-trust/

Sotheby's New York is to offer a prototype camerad, named the Phantom, and designed by Noel Pemberton Billing. P-B was the designer of the Compass camera made be Le Coultre. The Phantom never made it beyond the prototype stage and it was dated to c.. The camera was originally sold at Christie's South Kensington in January 2001 where it sold for £146,750, against an estimate of £8,000-12,000 - then a world record auction price for a camera. Sotheby's have an estimate on the camera of US$30,000-50,000.

The Phantom Photographic Unit was one of the last engineering projects Billing worked on before his death. It has clear antecedents in the Compass camera which was taken to its logical conclusion with all aspects of the camera being built in to a single box. The Phantom camera, although larger than the Compass is of a very similar design and layout.
The Phantom, for which there appears to be no published report in any contemporary photographic periodical, was designed between 1944 and 1946. It was made by W. Rollason & Sons of Finchley, London, It was intended to be manufactured and sold complete for £25 in 1948. The prototype was never fully completed and is not fully working.

History of Science and Technology
Sotheby's New York
15 July 2026 from 1900 (BST)
Lot 23
See the Sotheby's description here: https://www.sothebys.com/en/buy/auction/2026/history-of-science-technology-2/phantom-photographic-unit

and the original Christie's description: https://www.christies.com/en/lot/lot-1985601