heritage (4)

31151142688?profile=RESIZE_400xAs flagged earlier this year on BPH the ground-breaking Victorian photographer, Julia Margaret Cameron, has been commemorated with an English Heritage blue plaque at her former London home in Belgravia. The plaque was unveiled on 12 May at 10 Chesham Place which was the first London residence of the woman who would go on to transform the art of photography. Born in Calcutta in 1815, Julia Margaret Cameron arrived in England in 1848, living at Chesham Place as she settled into London life after years in India. Although she did not take up photography until later, while living on the Isle of Wight, this early London home placed her at the heart of the capital’s cultural world and the social and intellectual networks that would come to shape her remarkable career. She died in Ceylon, now Sri Lanka, in 1879. 

Rebecca Preston, Historian at English Heritage, said: “This plaque marks the place in London where Julia Margaret Cameron cultivated the creativity and connections that would later inform her work and provide many of her subjects Though she did not take up photography until her 49th year, Cameron went on to become one of its most original and influential pioneers, redefining what a photographic portrait could be.

Jules Cameron, DJ, actor and presenter and great-granddaughter of Julia Margaret Cameron, said: “Julia Margaret Cameron saw photography not simply as a record, but as a way of revealing the soul. To have her honoured with a blue plaque feels like a quiet continuation of her work fixing her presence once more in light and memory. She wasn’t interested in perfection, but in truth, in feeling, in humanity. A blue plaque feels entirely fitting for someone so gloriously unconventional, and I think she would have absolutely loved it.”

31151143886?profile=RESIZE_400xCameron is best known for the striking photographs of leading figures in Victorian society including fellow blue plaque recipients Alfred Tennyson, Charles Darwin, Ellen Terry and Marie Spartali Stillman, as well as imaginative allegorical scenes featuring members of her family and household. Rejecting the sharp focus favoured by many contemporaries, she instead embraced soft focus and long exposure to capture what she described as the “inner life” of her subjects.

Though often criticised in her lifetime, Cameron’s work gained recognition from Sir Henry Cole who bought photographs from her for what is now the V&A Museum. She has since secured her reputation as one of the most important figures in the history of photography. The house at Chesham Place, her first London base, marks the beginning of a journey that would lead her to redefine the medium and influence generations of photographers

Other notable photographers commemorated by the scheme include John Thomson, Christina Broom, Lee Miller, Bill Brandt and Cecil Beaton. 

The English Heritage London Blue Plaques scheme is generously supported by David Pearl and members of the public.

Images: © Michael Pritchard.  (Top): Jules Cameron unveils the plaque at 10 Chesham Place. (right): the blue plaque; (left): collodion photographer Magda Kuca makes a collodion portrait of Jules and Antonia Cameron with Andrew Graham-Dixon looking on;  (below): Speakers at the event (l-r) Hannah Starkey, Dr Marta Weiss, Tim Walker, and Andrew Graham-Dixon. 

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31151135678?profile=RESIZE_400xA Blue Plaque to William Constable is to be unveiled in Brighton on the 29 May 2026 at 57 Marine Parade. The unveiling is scheduled for 1130 and attendees are asked to gather for 1115. Following the unveiling those attending are encouraged to go for a fish and chip lunch in the restaurant on Brighton's Palace Pier.

William Constable (1783-1861) was the first person to open a photographic portrait studio in Brighton. A 58-year-old inventor who had previously worked as a flour miller and high street draper, he had recently been employed as a land and road surveyor. Constable's Photographic Institution opened on Monday, 8 November 1841 at 57 Marine Parade, a large four-storey building situated on Brighton’s eastern seafront, at the corner of Atlingworth Street. Holding an exclusive licence from Richard Beard, Constable had a virtual monopoly in the production of photographic portraits in Brighton between November 1841 and 1851. He closed his studio at number 57 in 1854. 

Read more about William Constable here: https://victorianedwardianphotographersinbrightonhove.uk/brighton-photographers-1841-1860/ and see: Philippe Garner, 'William Constable. Brighton's First Photography', History of Photography, 15(3), Autumn 1991, 236-240.

Image: A daguerreotype portrait of William Constable. Courtesy of Philippe Garner.

 

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Photograph Preservation Initiatives

12201161655?profile=originalOur team is collecting information on photograph preservation projects throughout the world to assist us as we write a monograph titled, Significance, Use, and Conservation of Photograph and Image Collections, to be published in the Routledge Series in Conservation and Museology. In these survey questions, we are broadly defining photograph preservation projects to include photograph conservation and rehousing, emergency response, education and outreach, research, and digital image collection initiatives. We are particularly interested in learning about projects that promote conservation advocacy and community engagement.

Your privacy is important to us. Your data is protected and will not be shared beyond this research group. We would greatly appreciate it if you could complete the survey before March 10. It should take approximately 10-15 minutes to complete. Your input will be a tremendous help in raising awareness of photographic heritage worldwide.

Link to survey: https://utexas.qualtrics.com/jfe/form/SV_82GgIHMVqNpfF5Q

Thank you for your time and expertise!

Debra Hess Norris, University of Delaware
Heather Brown, Harry Ransom Center at the University of Texas at Austin
Shannon Brogdon-Grantham, Smithsonian's Museum Conservation Institute
Ellen Cunningham-Kruppa, Harry Ransom Center at the University of Texas at Austin
Marta Garcia Celma, M+ Museum, Hong Kong
Amber Kehoe, Harry Ransom Center at the University of Texas at Austin
Lee Price, Conservation Center for Art and Historic Artifacts, Philadelphia
Ioannis Vasallos, The National Archives, UK

For questions related to the survey and/or the publication, please contact copicbook@gmail.com.

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12201121294?profile=originalHi, Thought this might be of interest to some of those interested in studying photo archives! Following the successful pilot of the Cambridge Data School in 2019, CDH is pleased to announce that it is extending its training in Digital Methods in an effort to meet the growing demand across academia, civil society, the public sector and industry. During the current academic year, CDH will organise two Data Schools, a Cultural Heritage Data School scheduled for 16–20 March 2020, and a Social Data School, which will take place on 22–26 June 2020. 

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Applications now open for the first Cambridge Cultural Heritage Data School 

Cambridge Digital Humanities (CDH) is pleased to announce that applications for its Cultural Heritage Data School are now open. This event aims to bring together participants from the wider Galleries, Libraries, Archives and Museums (GLAM) sector and academia to explore the methods used to create, visualise and analyse digital archives and collections.

The curriculum will be structured around the digital collections and archives pipeline, covering the general principles and applied practices involved in the generation, exploration, visualisation, analysis and preservation of digital collections and archives. The school will be tailored to the learning needs of participants with content selected from but not limited to the following:

  • Metadata creation and enrichment
  • Digital text mark-up and TEI
  • Text-mining
  • Social network visualisation and analysis
  • Geomapping and archival photography
  • Digital Images and machine learning
  • Digital data preservation

Cambridge Digital Humanities is committed to democratising access to digital methods and tools and is
offering the following subsidised participation fees to encourage applications from those who do not normally have access to this type of training. The fees include all teaching costs, college accommodation (including breakfast and evening meals) for four nights and three lunches.

  • Standard Rate: £645
  • Small Organisations / Academic Staff: £395
  • Students / Unemployed / Community Projects / Unfunded Projects: £125

In addition, a small number of bursaries are available to those who can demonstrate financial need.
The deadline for applications is Sunday 15 December 2019. Applicants will be notified of the outcome of their application by Friday 17 January 2020.

Apply here
Questions related to the application procedure: Karen Herbane (Digital Humanities Learning and Events Coordinator): learning@cdh.cam.ac.uk Questions related to course content: Hugo Leal (Cambridge Data Schools Coordinator): hjl51@cam.ac.uk.

 

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