Blogs

This symposium will contextualise the exhibition within the broader theme of street photography and the long-term development of photography in Sheffield. It also aims to emphasise the importance of UK-wide photography networks to continued development and research in the field. The symposium will offer the first chance to find out about the Photographic Collections Network. This is a new organisation, supported by Arts Council England, for anyone involved with photography archives and collections. It launches in October 2016 and Paul Herrmann, one of the co-founders, will give more information about its aims and plans.

Speakers will include Susanna Brown (Curator, Photographs, Victoria and Albert Museum), Simon Roberts (UK-based contemporary photographer), Paul Herrmann (Director, RedEye: The Photography Network and Chairman of the Photographic Collections Network), Paul Hill (UK-based photographer and Professor of Photography) and Ken Phillip (Sheffield-based photographer and former Lecturer of Photography, Sheffield Hallam University).

The symposium will be followed by a special evening viewing of the Street View exhibition 5.45pm-7.45pm with curator Catherine Troiano.

Read more and book here.

Image: Langdon Clay, 'Kings Inn' from the series ‘Cars’, New York, 1977. Image © Langdon Clay

The Art Newspaper carries a fascinating Q&A with James Hyman where he talks about the 3000 strong Claire and James Hyman Collection of photography collectionand what might happen to it in the future, He makes a strident, but reasonable, call for a senior curator of British photography at Tate Britain to compliment Simon Baker, curator of international photography, at Tate Modern. He suggests that within the Tate staff there have shown a lack of interest in receiving the collection, although Nicholas Serota has been 'personally engaged'. 

Read the full interview here: http://theartnewspaper.com/reports/photography-review/why-a-collection-of-british-photography-is-probably-going-abroad/

See more of the Hyman Collection at its website here: http://www.britishphotography.org/artists

If you have excellent organisational skills and you're looking for an exciting and unique place to work this role could be for you. Using your skills in administration and ability to work in a team you will provide support to the Collections and Exhibitions department at the National Media Museum.

The team consists of curators, archivists and exhibition and events co-ordinators and it will be your job to facilitate the work they do and provide assistance to the head of the department.

You will need to have excellent organisational skills and work well with a range of both external and internal colleagues as well as providing a frontline service to people contacting the department.

There will be opportunities to get involved in projects and the right person for the job will be able to co-ordinate this process from keeping records of meetings to maintaining budget information.

This a great opportunity to become part of a Collections and Exhibitions department at a national museum working with an iconic collection.

For Museum collections information click here

For further details see the Vacancy Information Pack.

To view job details or apply click here.

Job title:  Collections and Exhibitions Assistant
Job reference:  SMG00084
Application closing date: 24^th November 2016
Location: National Media Museum - Bradford
Salary: £16,000 per annum

Details of the first successful camera for continuous recording have recently been published.  When Sir Francis Ronalds became Director of the Kew Observatory in 1842, he decided to ease the load on observers by creating a camera that would capture the minute-by-minute variations of a scientific instrument through the day and night.  By early 1846, different cameras were recording atmospheric pressure, temperature, humidity, atmospheric electricity and geomagnetic forces.

Either Calotype or Daguerreotype could be used in the machines and Ronalds worked with many photographic pioneers in London in perfecting the processes for his unusual application; these included Collen, Malone, Henneman, Beard, Egerton, Nicklin and Herschel.  Waxed paper was later the medium of choice, which was adapted to the cameras by William Crookes, and, still later, gelatinised paper.

The instruments were in use at the new Met Office from the early 1860s in developing the science of weather forecasting and in total around 80 of them were deployed around the world into the 20th century.  Original examples survive at the Science Museum in South Kensington and at the Oxford Museum of the History of Science.  Photographs from as early as 1845 are retained in various archives, including the Royal Observatory Greenwich collection at Cambridge University Library; the Oxford Museum; the National Meteorological Library and Archive at Exeter; and the Institution of Engineering and Technology.  Malone’s photographic portrait of Ronalds is at the Royal Society.

Further details of these materials are provided in:

Sir Francis Ronalds: Father of the Electric Telegraph
Beverley F Ronalds
Imperial College Press
ISBN: 978-1-78326-917-4 (hardback)
£40
See: http://www.worldscientific.com/worldscibooks/10.1142/p1072> which describes the life and many inventions of this little known scientist and engineer.

A collection of early photographic technology and images is being transferred from the British Film Institute to the Fox Talbot Museum at Lacock in Wiltshire, thanks to a £36,100 grant from the Heritage Lottery Fund (HLF) and support from Art Council England’s Preservation of Industrial and Scientific Materials (PRISM) fund.

The collection comprises hundreds of cameras, optical devices and toys from the eighteenth century to the late 1980s as well as nearly 3,500 photographic images ranging from the earliest processes through to the first part of the twentieth century. It was assembled by James Fenton, a founder member of the RPS Historical Group who exhibited it as the Fenton Museum of Photography in the Isle of Man for many years  After it closed it was purchased by the Museum of the Moving Image, which closed in 1999. Since then, the collection has remained in storage, but with the support of the British Film Institute, Heritage Lottery Fund and Arts Council England, it will now be brought back into the light at the Fox Talbot Museum at Lacock.

The museum, situated in the grounds of Lacock Abbey in Wiltshire, celebrates the achievement of William Henry Fox Talbot. Talbot captured the world’s first photographic negative at the abbey in 1835 and invented the calotype process, paving the way for photographic processes on film still used today.

As Britain’s birthplace of photography, Lacock is the perfect place for James Fenton’s collection, and the support of the Heritage Lottery Fund and PRISM means that this unique collection can be properly cared for. Volunteers at the museum will work with skilled conservators to catalogue and digitalise the 4,500 objects in the collection in front of the eyes of the visitors, bringing the history of photography to life in a completely new way.

Roger Watson, curator of the Fox Talbot Museum, said, ‘We are hugely grateful to all of our supporters; the British Film Institute, the Heritage Lottery Fund, and Arts Council England. With their support, we are better able to tell the history of photography, to preserve a crucial part of our history, and to care for this incredible collection in the way it deserves.’

Nerys Watts, Head of Heritage Lottery Fund South West, said, ‘HLF is so pleased to support this project to bring together and digitise the wonderful Fenton collection of photographic material. Thanks to National Lottery players, this internationally significant collection, which shows the evolution of photography, will now be conserved and exhibited, with opportunities for a wide range of people to learn new skills.’

The Fenton collection will move to the Fox Talbot Museum before the end of the year, and 2017 will bring an exciting programme of displays, conservation and photographic demonstrations, ensuring that this extraordinary collection is preserved and presented for ever, for everyone.

• The Fox Talbot Museum recently advertised for a Project Officer to work on the collection. 

A new photograph by William Henry Fox Talbot has been discovered in an album brought to Sotheby's for valuation. The early photogenic drawing shows a negative of a fern. Also in the album is a faded photograph showing a print which is signed by Talbot and dated 1839. 

The album also contains watercolours and drawings by members of Talbot's wife's family and their circle, and will be offered in an auction on Tuesday 15 November in Sotheby's, London, sale of Travel, Atlases, Maps and Natural History. 

The photograph recently came to light when the album was brought along for a valuation at Sotheby's and was subsequently inspected by Professor Larry Schaaf, director of the William Henry Fox Talbot Catalogue Raisonné, who confirmed its authenticity.

The album will be available to view at Sotheby's New Bond Street from Wednesday 9 until Friday 11 and from Sunday 13 to Monday 14 November. Details here

For further information please contact Richard Fattorini richard.fattorini@sothebys.com  020 7293 5301

A call for papers for a one-day symposium at Quad, Derby, to be held on Saturday, 8 April 2017 has been made. The symposium is being presented to coincide with the exhibition People, Places, and Faces: the W. W. Winter’s Archive, curated by Greg Hobson, which will be shown at Derby Museum during Format 2017. The symposium coincides with the 150th anniversary of Winter’s Studio which has been in operation at 45 Midland Road, Derby, in a purpose-built photographic studio since 1867.

The symposium will bring together a range of people working on studio archive projects including professional archivists, curators, artists, and volunteers.  The event will explore a range of studio archive projects in and beyond the UK and seek to develop a network to share skills, knowledge, and experience among those working in this field.  We are particularly interested in papers which describe and discuss the planning, funding, organisation and outcomes of these archive projects.

Papers

The call is for 20-minute papers for which an abstract of no more than 350 words should be submitted to Pete James: petej158@gmail.com. by 31 December 2016. All proposals will be peer-reviewed by a steering group and those accepted will be notified by 20 January 2017.

Proposals should include the following:

• Title of paper or presentation
• Abstract (max 350 words)
• Your name
• Institutional Status (if applicable)
• Contact address and email

For further details on Winters’ Archive Project see: http://www.wwwinter.co.uk/historyandheritage.html

The symposium is titled: UNDER THE DARK CLOTH: working with historic photography studio archives

Saturday 8th April 2017, from 11.00am-5pm

at Quad, Derby.

The event is supported by the Heritage Lottery Fund, PARC, The Royal Photographic Society, The Photography Collections Network, Quad, Format Festival, Derby Museum, W. W. Winter and The Art Fund.

The George Eastman Museum has launched a new platform that allows public online access to more than 250,000 objects from its world-class collections at eastman.org/collections-online. Objects from the museum’s photography, technology, and George Eastman Legacy collections are now searchable, and more objects from the museum’s vast holdings are being added on an ongoing basis. Objects from the moving image collection will become accessible in the coming months.

“The George Eastman Museum has a long tradition of making our unparalleled collections—encompassing several million objects in the fields of photography, cinema, and photographic and cinematographic technology, as well as objects related to George Eastman—physically accessible to scholars, curators, and the public through our study centers and library, traveling exhibitions, and object loans,” said Bruce Barnes, Ron and Donna Fielding Director, George Eastman Museum. “Online access to our extensive collections will transform the public’s understanding of our holdings and facilitate new forms of collaboration with creators, curators, scholars, and collectors. Whether you are conducting research on a particular subject or simply interested in seeing what works we have by your favorite photographer, you can now do so much more easily.”

Although not everything in the George Eastman Museum’s collection is available online, more than a quarter of a million objects are currently searchable by artist, collection, classification, and date. New objects from the collection are being added to the database on a weekly basis.

The museum recently announced a grant award of $148,000 from the Institute of Museum and Library Services, to support the cataloging and digitizing of the museum’s Gabriel Cromer collection. Donated to the museum by Eastman Kodak Company, this is one of the seminal collections of early French photography and is considered the most important collection of such materials outside of France. The Gabriel Cromer collection will be fully accessible online by 2019.

“The launch of our online collection database has been truly transformative for the George Eastman Museum, allowing the world access to explore and discover the myriad wonders of our collection, enhancing the museum’s profile, our contribution to scholarship, and our collaborative capabilities,” added Barnes.

About the George Eastman Museum’s Photography Collection
The photography collection at the George Eastman Museum, among the oldest and best in the world, comprises more than 400,000 photographic objects dating from the introduction of the medium in 1839 through to the present day. It encompasses works made in all major photographic processes, from daguerreotype to digital, includes work by more than eight thousand photographers, and continues to expand.

About the George Eastman Museum’s Technology Collection
The George Eastman Museum holds the world’s leading collection of photographic and cinematographic technology. Consisting of more than 16,000 artifacts from the earliest days of photography to today’s digital devices, the collection contains all of the equipment necessary for photographic image making, as well as printed documentation related to the business, manufacturing, and marketing of the photographic and motion picture industries.

About the George Eastman Legacy Collection
The George Eastman Legacy Collection comprises objects and records relating to the life and career of George Eastman. The collection consists of Eastman’s restored historic home, furnishings, decorative arts, and related artifacts, as well as substantial holdings of his personal and business correspondence, private library, photographs, negatives, films, and related personal items.

About the George Eastman Museum’s Moving Image Collection
The George Eastman Museum preserves and promotes the art of cinema in all its forms, from the mainstream to the avant-garde. Founded by the museum’s first curator of film, James Card (1915–2000), the collection now comprises more than 28,000 titles spanning the entire history of world cinema, from the early experiments of Thomas Edison and the Lumière brothers to the present. The Moving Image Stills, Posters, and Paper Collection comprises approximately three million objects, including letters, scripts, musical scores, lobby cards, posters, film stills, and celebrity portraits.

To search the museum’s online collection database, visit eastman.org/collections-online. 

Are you passionate about delivering excellent customer service and providing second to none administrative support? Would you love to be part of a team working to ensure the next generation of young people are engaged and inspired in the role of Science Technology Engineering and Maths (STEM) subjects and careers in the world around them? 

We are looking for a talented individual with experience of working in an administrative or support role to provide high level support to our busy team. You will be pivotal to the smooth running of a busy team being the primary point of contact for the department and ensuring upcoming events and office systems are organised. 

You will be well organised with meticulous attention to detail, take pride in your excellent team working and interpersonal skills and be willing to step in to support your team as priorities change. 

This role will be on a fixed term basis until March 2018 

This role closes on 9th November 2016 

Interviews will take place week commencing: 14thNovember 2016

To apply and for more information visit:

https://ce0111li.webitrent.com/ce0111li_webrecruitment/wrd/run/ETREC107GF.open?VACANCY_ID%3d8647060iAI&WVID=7271880URt&LANG=USA

Photographic collections are found in libraries, archives and museums all over the world. Their sensitivity to environmental conditions, and the speed with which images can deteriorate present special challenges.

This one day training session is led by Susie Clark, accredited photographic conservator. It is aimed at those with responsibility for the care of photographic collections regardless of institutional context. The day provides an introduction to understanding and identifying photographic processes and their vulnerability, information on common conservation problems and solutions, and the preservation measures that can be taken to prolong the life and accessibility of photographic collections. Contact with real examples of different photographic processes is an important feature of this training session which is therefore limited to only 16 places. At the end of the day participants will be able to:

• identify historic photographic processes
• explain how damage is caused
• implement appropriate preservation measures \tab commission conservation work.

For further information about the course, please contact the Course Organiser: +44 (0)1243 818219 or cpd@westdean.org.uk

Read more: https://www.westdean.org.uk/study/short-courses/courses/bl25-preserving-historic-photographs#block-intro

BBC Four invites audiences to share in a celebration of British Photography with Britain in Focus, a season of programmes exploring the UK through the lens. The BBC are looking for photo-fanatics to submit their own photographic memories for a documentary looking at the family photograph and the story of the cameras which defined each generation's favourite family snapshots.

Are your shelves groaning under the weight of countless family photo albums? Has your family captured each generation's story on the cameras of the day, from Box Brownies to Polaroids, Kodak Instamatic to the latest digital cameras?

If so then the BBC needs you. Smile! The Nation's Family Album will tell the unique story of family life in Britain from the 1950s to the modern day, focusing on the cameras that shaped home photography, and the people that used them. BBC Four are looking for families of photo-fanatics - ideally three generations of snappers – to dig deep into their treasured photo collections and share their most precious memories and family images to become part of the story.

Also in the season, Margaret Mountford and contemporary photographer Harry Cory Wright will discover The Man Who Shot Tutankhamun as they recreate the techniques of pioneering British photographer Harry Burton who captured the mysteries of ancient Egypt as it was excavated, in a unique look at how some of the most iconic images of the 1920s in the early days of photographic experimentation were created. 

And from the gold heads of the Pharaohs through to the gold-plated Lamborghinis of Knightsbridge, BBC Four will accompany award-winning street photographer Dougie Wallace as he documents the lives of the superrich on the streets of London’s most exclusive postcodes. The documentary will follow Wallace capturing off-guard images of the wealthy on the streets of SW1, for his photo-documentary series, 'Harrodsburg', a powerful portrait of the ultra-affluent new elite, changing the face of the city and marginalising traditional local communities.

Leading photographer and picture editor Eamonn McCabe will tell the remarkable story of Britain in Focus: A Photographic History. From the delicacy of Julia Margaret Cameron through to the satire of Martin Parr, McCabe will look behind the lens to find out more about the artists and technology responsible for some of the most iconic images in British history and how a new generation of Instagrammers will shape our future attitudes towards photography.

Photographers at the BBC will take audiences inside the unique photographic treasure chest of the BBC’s archive, where the lives of top photographers from Norman Parkinson to David Bailey, Eve Arnold and Jane Bown have been brought to mainstream attention through classic programmes like Face to Face and Omnibus.

Cassian Harrison, BBC Four said: “Photography has been one of the most exciting, vibrant and transformational art-forms of the last 1,000 years – putting the tools of creation into the hands of anyone with explosive effect. Across this season of programming BBC4 will explore photography’s fantastic world with all the channel’s customary expertise and depth, unpacking both its history and relevance in exciting new ways and through the eyes of some of its greatest practitioners.”

Details of how to submit images for inclusion in Smile! The Nation's Family Album and to find out how to apply can be found at bbc.co.uk/familyalbum 

Programme Information (transmission times to be confirmed, but spring 2017) 

Smile! The Nation's Family Album (w/t)

BBC Four, 1 x 60

In today's digital age, the classic family photo album has become an object of nostalgic affection. But its more than just a collection of sentimental snapshots. Celebrating everyday moments and shared experiences - from birthdays to weddings, first days at school to teenage parties - amateur photography offers an intimate portrait of Britain’s post-war social history. And each generation had a different camera to tell their story.

From Teddy Boys in photo booths to family holidays captured on Kodachrome, this film reveals the images and the cameras which preserved our most precious memories. Discovering how new technologies and evolving social attitudes inspired the nation to pick up a camera, the film charts a journey from the Box Brownie to Instagram, offering a touching portrait of our changing lives, taken not by the professional photographer but on our own cameras.

The Man Who Shot Tutankhamun (w/t)

BBC Four, 1 x 60

This is the story of Harry Burton, one of the great heroes of British photography. As the official photographer for Howard Carter’s Tutankhamun excavation during the 1920s, Burton created some of the 20th Century’s most famous images and helped make Tutankhamun an international sensation.

The film explores key locations in Burton’s life, in the UK and Egypt, and sets Burton’s famous black-and-white images of Howard Carter’s Tutankhamun excavation alongside forgotten colour photographs and cine film shot by Burton himself. The team led by Margaret Mountford and contemporary photographer Harry Cory Wright will also stage creative photographic experiments to discover the secrets of Burton’s art, re-creating the make-shift studio and dark-room that Burton set up by the Pharaoh’s tomb to reveal how he produced his iconic images.

Burton immortalised some of the most iconic moments of the 20th century, and besides recording the progress of the archaeology, his images capture the mystery, drama and excitement of one of the great archaeological discoveries of the century.

Britain in Focus: A Photographic History

BBC Four, 3 x 60

Photographer Eamonn McCabe explores the fascinating and remarkable story of British photography, from the rapid innovation of Roger Fenton in the Golden Age of the 19th century, to the satirical eye of Martin Parr in the 21st. He explores the profound technical and scientific changes that have allowed iconic images to be produced, chronicles the rise of a mass democracy of picture taking, and examines the changing way we have consumed photographs.

Throughout this three-part documentary series McCabe explores how the art form has developed, exploring some of the unforgettable images from icons and pioneers of British photography, including  Julia Margaret Cameron, Fay Godwin, Cecil Beaton, Christina Broom, John Bulmer and Vanley Burke. From the first “big bangs” of photographic development and early technology, through to the impact that captured images had on the development of journalism, photography emerged as both an art-form and a tool for reflecting and recording the world around us.

The programme will also look forward to the future of the medium - and how in the hands of a new generation of photographers, a thoroughly 21st century British photography is being created.

Photographers at the BBC (w/t)

BBC Four, 1 x 60

Using the BBC archive, this programme reveals the working practices, lives and opinions of some of the 20th century’s most distinguished photographers. From Norman Parkinson to David Bailey, Eve Arnold to Jane Bown, for decades the BBC has drawn the nation’s attention to the creators of what has become the most ubiquitous contemporary art form. Pioneering BBC programmes like Monitor, Face to Face and Omnibus provide unique and rarely-seen insights into the careers of many leading practitioners.

Through a selection of top photographers, the programme brings into focus the key genres (fashion, portraiture, documentary and landscape) and shows how these talented figures helped develop photography into a revered – and accessible – art form. 

What Do Artists Do All Day: Dougie Wallace

BBC Four, 1 x 30

Street photographer Dougie Wallace’s startling and eye-catching images capture the life of the inhabitants and visitors to the super-rich residential and retail district of Knightsbridge and Chelsea, with its solid gold-plated Bugatti’s and high end retail consumerism.

BBC Four follows Wallace as he finishes his exhilarating, headline-grabbing photography photo-documentary series ‘Harrodsburg’: an up-close wealth safari capturing the ultra-rich consumers who populate one of the UKs most wealthy and exclusive postcodes.

The recent winner of a Magnum Award for his work, Dougie's images are aggressive, confrontational and opinionated.  But he is unrepentant about his methods, and his message: “They come here because the rule is they can do whatever they want. Well, the rule of law in the UK says that I can photograph them. I’m just showing the wealthy, I’m taking pictures of them to highlight things like food banks in Glasgow.”

Life in Qing Dynasty Shanghai: The Photographs of William Saunders features a selection of over 35 original 19th-century albumen silver prints, many hand-colored, by William Saunders from the Stephan Loewentheil Historical Photography of China Collection. This exhibition, at the China Exchange, Soho, is curated by Stacey Lambrow is the first public exhibition devoted to Saunders’s work. Saunders occupies a distinguished place in the history of photography for the exceptional body of work he produced in Shanghai during the late Qing dynasty. For over a quarter of a century, Saunders operated Shanghai’s leading photographic studio, adjacent to the Astor House Hotel, a center of social activity on the Bund in the 19th century. Saunders’s images are an unrivaled photographic resource for the study of life in late Qing dynasty Shanghai.

Gallery Talks and Panel Discussions:

November 4 at 6pm
Preservation of Culture: Custodianship of 19th Century Photography
By Stephan Loewentheil, Phillip Prodger, Terry Bennett, and Richard Fattorini

As part of the historical photography exhibition ‘Life in Qing Dynasty Shanghai: The Photographs of William Saunders’ the panel will discuss custodianship of the earliest photographs taken in China and Asia.

Stephan Loewentheil – Private Collector
Dr. Phillip Prodger – Head of Photographs Collection at the National Portrait Gallery
Terry Bennett- Independent Scholar of Early Photography of Asia
Richard Fattorini- Sotheby’s Specialist in Historical Photography

November 10 at 6pm
Traditions of Photography in China
By Dr. Michael Pritchard, Betty Yao, Grace Lau, and Stacey Lambrow

As part of the historical photography exhibition ‘Life in Qing Dynasty Shanghai: The Photographs of William Saunders’, the panel will discuss early photographic studio practices and traditions of photography in China.

Dr. Michael Pritchard – Director General of the Royal Photographic Society
Betty Yao – Managing Director at Credential International Arts Management and International Curator
Grace Lau – Contemporary photographer, lecturer and author.
Stacey Lambrow – Curator of the Stephan Loewentheil Historical Photography of China Collection

More here: http://www.19thshop.com/eventsaunderschinaexchange2016/?utm_source=Saunders+Opening+&utm_campaign=Saunders&utm_medium=email

Could you use your creativity and clear-thinking to deliver marketing that brings thousands of visitors through the Museum's doors? We're looking for a Senior Marketing Executive to take the lead on marketing some of our most important and exciting projects. You'll have a really solid grounding in marketing with experience of digital and you'll have a track record for effectively delivering multiple projects at one time.

You'll work closely with our media buyers and design agencies to turn that knowledge into campaigns that pack a punch online, offline and on social media. You'll find the stories, images and ideas that bring out the science and technology in our collections, enhance our reputation and strengthen our brand.

Closing Date: 13 November 2016.

Interviews will be held w/c 21 November.

Details here: https://jobs.theguardian.com/job/6413205/senior-marketing-executive/

The Bradford Review has conducted a wide-ranging interview with Jo Quinton-Tulloch, Director of the National Media Museum, Bradford. It discusses some of the changes taking place at the museum. 

See the interview here: http://www.thebradfordreview.co.uk/interview-media-museum-director-jo-quinton-tulloch/

● BPH understands that the NMeM will re-launch itself in the first quarter of 2017.

The University of Newcastle in partnership with the Victoria and Albert Museum if offering a doctoral project which will research new ways of curating and interpreting institutional historic photographic collections in the digital realm. The project aims to explore how digital and transmedial interpretation and contextualisation approaches can bring to life an institutional historic photographic collection; and provide an innovative platform for engagement with a variety of audiences.

Key areas of research include:

• the investigation of reflexive interpretation strategies for historic photographic collections;
• scholarly research on Maurice Broomfield’s photographic archive;
• how a variety of audiences engage with institutional photographic collections (in analogue or digital form);
• how historic photographic archives may become connected to other types of cultural content (including user-contributed) in the digital realm.

The Victoria and Albert Museum’s Broomfield archive provides an ideal locus for this research, containing around 30,000 negatives of various formats, contact prints, press cuttings, exhibition prints and works order ledgers, documenting a pivotal period in post-war British industry from the 1950s to 1970s. A life story interview with the photographer is also included in the collection.

The successful candidate will have a large degree of freedom in developing their project, but it is envisaged that this PhD will undertake theoretical and empirical action research with a variety of stakeholders to:

1. explore novel approaches in interpreting institutional historic photographic collections with audiences in mind; and
2. articulate how digital media platforms may shape practices around the interpretation of photographic collections and people’s engagement with them.

Student Development Funding (equivalent to an additional 6 months of funding) is available to cover further training and skills development opportunities that are agreed as part of the PhD programme.

Sponsor

Arts and Humanities Research Council (AHRC) Collaborative Doctoral Partnership scheme.

Name of supervisor(s)

Dr Areti Galani, Dr Tom Schofield, Professor Christopher Whitehead, Media, Culture, Heritage, Newcastle University

Mr Martin Barnes, Senior Curator of Photographs, Word and Image, Victoria and Albert Museum

Eligibility Criteria

The studentship is open to UK and EU applicants.

Applicants must have:

• a first or upper second-class Honours degree
• a Master’s degree in an appropriate discipline
• meet our English language requirements if your first language is not English
• alternative qualifications/experience will be considered if applicants can demonstrate relevant achievement.

Applicants with experience in working with cultural collections and/or designing and developing digital projects in the cultural sector are encouraged to apply.

For the AHRC’s eligibility criteria, please see: www.rcuk.ac.uk/funding/grantstcs/.

How to apply

Please complete the University’s online postgraduate application form:

• insert the programme code 8834F (full-time) or 8836P (part-time) in the Programme of Study section
• select PhD Media, Culture and Heritage
• select the Research Area Museum, Gallery and Heritage Studies
• insert the studentship code SAC22 in the studentship/partnership reference field.

Your application must include:

1. a copy of your CV (maximum 2 pages)
2. a 750 word research proposal outlining the theoretical and methodological approach you propose to take if successful.

Contact

For further information please email Areti Galani.

See more and apply here: http://www.jobs.ac.uk/job/AVG260/ahrc-collaborative-phd-studentship-in-historic-photographic-collections-curating-and-interpreting-institutional-photographic-archives-in-the-digital-realm-the-maurice-broomfield-archive

I have a question about this albumen print by Julia Margaret Cameron from her illustrations of Tennyson's Idyll of the King. Many years ago, I was offered my pick of several illustrations from the Idylls, I chose this image, "And Enid Sang", as I felt that it was a beautiful stand-alone image, it was in the best shape, and I thought that it was a great example of Cameron's depiction of women.

My question is this:

In many online searches for the Idylls, The "And Enid Sang" image is either omitted, or in rather in terribly faded shape. Is this some sort of orphan image? Is this not included in all copies of Cameron's Idylls?

The copies in the Musee D'Orsay and the Getty are very badly faded, although the Metropolitan Museum has a fine copy.

Does any member have insight on this particular Cameron photo?

Many Thanks in advance,

David