I devised a method of scanning full plate glass negatives. The photographer is unknown but appears to have been from a commercial studio as two of the negatives are numbered on the plate.
One view of the bridge is from the same location as plate 36 reproduced in the book 'J. W Lindt - Master Photographer', by Shar Jones publ: 1985. The plate is captioned 'View of Melbourne from Studley Park'. (Victoria, Australia) C1876-1894.
I am looking for widely distributed photographs taken at the evictions on the Vandeleur estate, Kilrush, IR. Some 50 photographs were taken before, during and in the aftermath of these evictions. It was the most photographed of the Victorian era Irish evictions. Photographs were widely distributed, by witnesses present at the evictions, and those who came to Kilrush in the aftermath. The witnesses included 5 Americans and 6-8 English and Scottish individuals. The number who visited afterwards has not been established, but likely included another half-dozen. Many of these individuals and parties brought home photographs obtained from the photographers who took them, obtained from agents of the National League who escorted later visitors, or purchased from the Lawrence studio or other sources. I have found references in contemporary British newspapers that these photographs were projected by magic lantern technology to various groups and societies. If anyone knows of this I would like to be informed.
Dramatic photos taken at the height of the Handsworth Riots are to appear on billboards across the city this month in a project by two of the city's most influential black artists.
Poems by Benjamin Zephaniah will accompany the images taken by Pogus Caesar for Handsworth 1985 Revisited.
The two men - both 'sons of Handsworth' - hope the work will be a stark reminder that anger caused by neglect, poverty and racism can sometimes erupt into violence.
As Caesar describes it: "A tiny spark can become a gigantic flame". “The conditions I see when I walk around Handsworth and Lozells are very much the same as they were back in 1985.
"Those riots were the result of frustration built up over years of people suffering from poor job prospects, poor housing, poverty, harassment, racism, and a ‘them-and-us’ situation."
The artist was living in Handsworth when the riots erupted in September 1985.
The stunning images he captured at the time on his 35mm Canon camera will feature alongside reflective poems by writer and Handsworth ‘elder statesman’ Zephaniah.
They will be appearing in up to 20 locations around the city centre and on roadsides later this month.
The project, which has been three years in the making, is designed to “stimulate conversation” about the underlying issues of disengagement, deprivation and racism that still stalk the inner city.
“We hope they will afford a provocative walk through the events of 1985 and a sobering, timely reminder of how easily ignorance, inequality and justice begets social unrest,” Caesar said.
https://www.birminghammail.co.uk/news/midlands-news/handsworth-riots-being-revisited-giant-15928028
Sotheby's next auction of Travel, Atlases, Maps and Natural History, will take place in London on 17 November 2015. Viewing will be 12, 13, 15 and 16 November or other times by appointment. The auction includes photographs of Spain, Polar Exploration, the Middle East, Latin America, Africa, Burma, China, India, Japan, Korea, Singapore, Penang, and Thailand.
The image shown here is from Korea.
I’d like to draw members’ attention to a small exhibition in Walthamstow, East London - the original home of one of the largest camera factories in Europe. The emphasis is on popular photography rather than the historical - though there are historical references.
The space is divided into nine sections; 'small people', 'just a bit cut off', 'some exceedingly bad pictures', etc. Each section is prefaced by a vintage photograph with the rest of the images in that section reprinted from scans of either found, archive or contemporary images I've taken with locally-made vintage Ensign cameras. I was unable show the museum’s original photographs and this way the display has coherence and it's not immediately obvious (in some cases) which are vintage and which contemporary images.
It is an accessible and humorous show which also includes a display cabinet of Ensign artefacts and the cameras I used, plus some others from the museum’s collection. Round the room are quotes from Ensign publications and there is also a table display relating to a local man who used an Ensign with some of his family snaps loaned by his daughter.
The feedback I have had has been very positive with people remarking that it makes them want to revisit film and see what cameras they have in their attics. I hope it also makes people appreciate the old photographs they have in their possession.
More information here
