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10×10 Photobooks is pleased to announce a new grant cycle and call for applications as part of its annual photobook research grants program to encourage and support scholarship on under-explored topics in photobook history. For this cycle, 10×10 is looking for submissions related to 10×10 Photobooks’ forthcoming publication on the history of photobooks from Africa and its diaspora. We invite proposals for photobook research on Black identity, Africa and the African diaspora. The concept of the photobook for your study can be interpreted in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines, digital media, scrapbooks, posters, or other ephemera. The evaluation of proposals will consider the importance of the proposed topic, how significant and/or unknown is the subject, and the strength of the proposed approach.

10×10 Photobooks will award three grants for this 5th cycle for 2026-2027 cycle in the amount of $2,500 each, which will be paid in two increments during the course of the project. Grantees are expected to present the result of their research in a 15 to 20-minute Zoom presentation along with an approximate 1500 word printed essay, including illustrations and photographs. Final research needs to be in English and will be due within a year of the grant being awarded.

10×10 will assist where able and desired with in-progress review, identifying information, making introductions, etc. 

See full details here: https://10x10photobooks.org/research-grants-cycle5-call/

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

What is interesting to me is not just Atkins choice of the new medium of photography to describe, both scientifically and aesthetically, the beauty and detail of her collection of seaweeds; but within that new medium of photography, she chose not the photogenic or calotype process, but the graphic cyanotype process with its vivid use of the colour blue, a 'means of reproducing notes and diagrams, as in blueprints'.

Here we have a process that reproduces reality as in a diagram, a diagrammatic process that is then doubly reinforced when Atkins places her specimens directly on the cyanotype paper producing a photogram, a photographic image made without a camera. The resultant negative shadow image shows variations in tone that are dependent upon the transparency of the objects used. (Wikipedia)

Atkins photographs, produced "with great daring, creativity, and technical skill" are "a groundbreaking achievement in the history of photography and book publishing." While Atkins' books can be seen as the first systematic application of photography to science, each photograph used for scientific study or display of its species or type, there is a much more holistic creative project going on here.

Can you imagine the amount of work required to learn the calotype process, gather your thoughts, photograph the specimens, make the prints, write the text to accompany the images, and prepare the number of volumes to self-publish the book, all within a year? For any artist, this amount of concentrated, focused work requires an inordinate amount of time and energy and, above all, a clear visualisation of the outcome that you want to achieve.

That this was achieved by a woman in 1843, "in contrast to the constraints experienced by women in Victorian England," makes Atkins achievement of scientific accuracy, ethereal beauty and sublime transcendence in her photographs truly breathtaking.

Dr Marcus Bunyan

READ THE FULL TEXT AND SEE THE IMAGES AT https://wp.me/pn2J2-aRJ

Anna Atkins (1799-1871)
Ulva latissima, from Volume III of Photographs of British Algae: Cyanotype Impressions
1853
Cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations

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