Blogs

On 13th June at 6.30pm I will launch this book by Jeremy Hill of Monksgrange Archives on the photographic work of Goddard Orpen. The event will take place in the Gallery at Farmleigh House in the Phoenix Park Dublin. The house was formerly owned by the Guinness family and is now owned used by the Government of Ireland for various functions and as a residence for State visitors to Ireland such as Queen Elizabeth II, who stayed there in 2011.

Orpen was both a lawyer and an historian. His wife Adela Richards had inherited Monksgrange House and Estate in County Wexford, Ireland from her father. Goddard added photography to his many talents and took photographs at Monksgrange and elsewhere in Ireland and also in other countries such as Great Britain, Italy and France. He also engaged in painting and was a cousin of the famous Irish painter Sir William Orpen, some of whose work is also being exhibited at Farmleigh https://www.farmleigh.ie/events/orpens-at-farmleigh/

The prints being exhibited were taken from 5x4 inch and 5x7 inch dry glass plates with some also from film negatives. This work was done with great skill and care by Irish photographer Anthony Hobbs. The text is by Jeremy Hill who is the current owner of Monksgrange and keeper of the Monksgrange Archives https://www.monksgrangearchives.com. The book will be available from that site following publication

Orpen's photography is of a very high standard, particularly as regards both composition and his use of light. The standard is well beyond that of the usual 'gentleman amateur' of his period as this image of his daughter Iris playing the violin in 1898 shows. The handling of the light on the face of Iris would be difficult to achieve with modern equipment, let along the equipment available, even to wealthy photographers, in the 1890s

Adela, who was born in Virginia USA, was the wife of Goddard and mother of Iris and her brother Eddie and was also a painter herself. One of the exhibits in the exhibition features a scene at Rue de l 'Echaude in Paris which was photographed by Goddard and also painted by both himself and Adela, all done in 1899. Eugene Atget later photographed the same scene in 1905. Here is Adela photographed by Goddard in England in 1885 

The exhibition also features many other works showing the Orpen family, the farm at Monksgrange, 19th Century trains as well as travel in Ireland, Britain, France and Italy. All of the works exhibite are of a universally high standard. The cover photograph for the book shows Adela at work in her garden with her son Eddie and some family pets beside her. At the right behind Eddie is the family observatory which contained a 6 inch Grubb telescope, made in Dublin. Anyone who has read my blog before will know my enthusiasm for anything made by Thomas and Howard Grubb and that I have a collection of their 19th Century camera lenses.  In a nice piece of symmetry, the gallery at Farmleigh is just beside a large clock tower which contains a clock made by Howard Grubb c 1880 - 1885. Details are here https://www.farmleigh.ie/the-clock-tower-at-farmleigh/ 

I am looking foward to speaking at this event about the work of a wonderful Irish photographer, who was unknown to me until recently, unlike his more famous cousin whose work I have admired for many years. Jeremy Hill and Anthony Hobbs are to be thanked for bringing this wonderful work to our attention. 

With the most extensive retrospective of her photography yet staged in the UK, Tate Britain celebrates Lee Miller as one of the 20th century's most urgent artistic voices.

First exposed to a camera by working in front of it, Miller was one of the most sought-after models of the late 1920s. She quickly stepped behind the lens, becoming a leading figure in the avant-garde scenes in New York, Paris, London and Cairo.

The exhibition will showcase Miller’s extraordinary career, from her participation in French surrealism to her fashion and war photography. Exploring her artistic collaborations, the exhibition will also shed light on lesser-known sides of her practice, such as her remarkable images of the Egyptian landscape in the 1930s.

With around 250 vintage and modern prints, including those never previously displayed, the exhibition reveals Miller's poetic vision and fearless spirit.

Determined to forge her own path, she later commented, ‘It was a matter of getting out on a damn limb and sawing it off behind you.’

Lee Miller
Tate Britain
2 October 2025 – 15 February 2026
https://www.tate.org.uk/whats-on/tate-britain/lee-miller

Image:  Lee Miller, Model with lightbulb, Vogue Studio, London, England c.1943. © Lee Miller Archives, England 2024. All rights reserved. leemiller.co.uk

Tate Modern, London, has given advance notice of a new exhibition Global Pictorialism which will run from 4 December 2025-25 May 2026. It is being developed and researched by the Tate's new photography curator Charmaine Toh.  Discover how pictorialism, the first international art photography movement, developed across the world from the 1880s to the 1960s.

Bringing together over fifty artists from Shanghai to Sydney, New York to Cape Town and Brazil to Singapore, this truly international exhibition takes a fresh and inclusive look at the history of art photography. Featuring never-before seen works from around the world alongside pieces from Tate’s Collection, Global Pictorialism highlights the vast and varied artistic possibilities of photography as a medium.

Global Pictorialism
4 December 2025-25 May 2026
London, Tate Modern
https://www.tate.org.uk/whats-on/tate-modern/global-pictorialism

Image: Luo Bonian, Drawing Water from a Well series, May 1932 ©️Luo Bonian, Courtesy of Luo Bonian Art Foundation and Three Shadows +3 Gallery

A Pressphotoman mini-series of blogposts featuring new research about photography in 1860s Eldon Square, Newcastle upon Tyne has just been published.

Part 1 explores how W. & D. Downey came to open a studio at number 9.
Part 2 traces William Softley Parry's photographic journey to number 17.
Part 3 investigates whether their neighbours at number 7, Edward and Eliza Charlton, were skilled 3D photographers.  

Read here

Photo credit: Eldon Square, Newcastle upon Tyne c. 1860s. Courtesy of Private Collection, Zurich.

We call for papers that explore new ways to study magazines and magazine photography as practiced in the United States, 1930-1970. We invite participation from all scholars, writers, curators, archivists, librarians, artists, and independent researchers who use illustrated print culture in the study of American social history.

We seek to loosen categories such as “photojournalism,” “art photography,” “documentary,” “illustration,” or “snapshot,” in favor of broader consideration about the multiple ways photographs function. We are interested in all forms of photography destined for the printed page: editorial, advertising, illustration, educational, scientific, political, and more. We invite consideration of all kinds of magazines, including general interest and fashion as well as science, medicine, shelter, design, travel, house organs for corporate clients (such as The Lamp/Standard Oil of New Jersey), industry publications and propaganda (Amerika, published by USIA).

We invite proposals (from any discipline) for 20-minute talks about US magazine history, 1930 to 1970. We hope to reconsider the historiography of magazine photographers, editors, and designers, to highlight the collaborative nature of magazine production, explore technological considerations, and reveal behind-scenes decision making. How did the public’s interest in photography influence the growing marketplace?

We are inspired by exhibitions such as the Smithsonian’s National Museum of American History, (re)Framing Conversations: Photographs by Richard Avedon, 1946-1965, Princeton and MFA Boston’s, Life Magazine and the Power of Photography (2022), The Jewish Museum’s Modern Look: Photography and the American Magazine (2021), and Art Gallery of Ontarios’ Building Icons: Arnold Newman’s Magazine World, 1938-2000 (2023), and by scholarship such as Nadya Bair’s The Decisive Network: Magnum Photos and the Postwar Image Market (2020), Thierry Gervais, The ‘Public' Life of Photographs (2016), and Vanessa Schwartz and Jason Hill, Getting the Picture: The Visual Culture of the News (2015), and the National Museum of African American History’s co-stewardship, with J. Paul Getty Trust, of the Johnson Publishing Company Archives.

This day-long set of presentations and discussion will be held at the National Museum of American History. Speakers will receive an honorarium. The goal of the conversation is to expand histories, explore new methodologies, identify repositories, and build scholarly community.

Please send a 300-word proposal, and short bio to: photographyandmagazines@gmail.com by July 1, 2024.

The Bill Douglas Cinema Museum in Exeter has announced the inaugural Stephen Herbert Award, which will enable a researcher to come to the museum to consult the museum's early cinema or optical media holdings. The award is named after the much loved and hugely influential film historian Stephen Herbert, who died last year. The award has been kindly gifted to us in Stephen’s name by his partner Mo Heard and we welcome applications that focus on the areas that particularly excited Stephen; the optical media that preceded cinema, such as magic lanterns, illusions, stereoscopes, and animated toys, and the first couple of decades of cinema history in the 1890s and early twentieth century. Material collected by Stephen has been donated to the museum recently, such as his work on magic mirrors and the pioneer Wordsworth Donisthorpe. Applicants could consult these items, or any of the other extensive holdings at the museum from a variety of donors on moving images from the 17th century up to around 1918. Go to www.bdcmuseum.org.uk for more information on our collections.

The award is for up to £500 and we particularly welcome applications from early career scholars or from independent researchers who might otherwise find it difficult to afford to visit Exeter. The monies are to be used for travel and accommodation costs incurred while visiting the Museum to undertake significant research that will be enhanced by access to our collections. Proposed research should contribute to publications or other demonstrable outcomes, such as films or artworks. Successful applicants will be required to write a blog post for the museum’s website about their research following their visit.

See more and apply: https://www.bdcmuseum.org.uk/news/the-stephen-herbert-award/

A new blog discusses the University of Cambridge 1897 vote on whether to allow women the titles of their degrees, and looks at the photographs that recorded extraordinary scenes.  The vote (Spoiler alert) went badly against the women and it was not until 1948 that women were finally admitted to full membership of the University. A day and night of riotous celebrations by the male undergraduates followed. Shop windows were broken, a giant bonfire was lit in the Market Square and fuelled with pillaged shutters and any other wood that the students could lay their hands on.

The extraordinary scenes of 21 May 1897 were captured by photographers stationed on rooftops and high places around the Senate House, where the voting took place. Photographs by Messrs Stearn on the Cambridge Digital Library capture the massed crowds and the excitement of the men spilling out of the Senate House after the result was announced. Of all the photographs, surely the most iconic is that of the crowd beneath the notorious effigy of a ‘new woman’ bicyclist in blue bloomers and pink bodice, suspended from a window above the Bowes & Macmillan (now Cambridge University Press) bookshop. The effigy was later pulled down and decapitated by the jubilant undergraduates.

Read the full blog and see the photographers here: https://specialcollections-blog.lib.cam.ac.uk/?p=28325

Presented at the André Malraux Museum of Modern Art – MuMa, the exhibition Photographing in Normandy (1840-1890). A pioneering dialogue between the arts aims to highlight the decisive role that Normandy played in the beginnings of photography. Exhibiting photographs on the occasion of the fifth edition of Normandie Impressionniste and especially for the 150th anniversary of the movement, makes perfect sense, as painting and photography have maintained close links, underpinned by a spirit of invention, of emulation and innovation which led to the renewal and multiplication of images in the nineteenth century.

The exhibition brings together masterpieces of painting and photography, from pioneers to the biggest names, including amateurs. Iconic works rub shoulders with rare or little-known works. The variety of formats and techniques allows us to understand the extraordinary technical abundance of these beginnings of photography. The paintings of Impressionist and pre-Impressionist painters come from the prestigious collections of the MuMa, the Musée d'Orsay, the Fine Arts museums of Amiens, Caen, Honfleur and Lyon (including Jongkind, among others). Courbet, Dubourg, Boudin, Pissarro, Monet …) alongside photographs by Hippolyte Bayard, Stéphanie Breton, Hippolyte Fizeau, Gustave Le Gray, Henri Le Secq, the Macaire and Warnod brothers, John Ruskin, William Henry Fox Talbot … Near two hundred works are to be discovered.

A field of experimentation and innovation for the greatest photographers since the 1840s, whether inventors or artists, Normandy is the ideal place to measure the reciprocal influence of the arts. Photography records a rich heritage whose fragility and importance we then measure, follows the progress of the transformation of the coasts by seaside architecture and the arrival of rich summer visitors, seeks the picturesqueness of the countryside, tackles the scenes of genre and maritime views very clearly asserting his artistic ambitions.

The period covered by the exhibition extends from the first years when photographic techniques were disseminated, until the dawn of a new era, that of cinema and the democratization of photography, notably via photo clubs. The animated image was then close to marking the end of the century, and the creation of photographic companies reflected the renewed accessibility to the process. The precursors, the professionals and enlightened amateurs are no longer the only creators of images. Another story begins.

Photographing in Normandy 1840-10890
25 May-22 September 2024
Details: https://www.muma-lehavre.fr/fr/expositions/photographier-en-normandie

Image: Alphonse DAVANNE, N°2 Etretat Left cliff , 1864, Print on albumen paper from glass negative, 24 x 31 cm. Paris - National Library of France

We are pleased to invite you to the 2-day symposium Vestiges of Memory: Intersections between Photography and Autobiographical Memory held at the University for the Creative Arts in Canterbury on 18 – 19 July. Across two days, this research symposium sets out to explore new ways in which 21st century artists, photographic practitioners and other researchers interrogate, mine, imagine, respond to, question and reflect upon intersections between autobiographical memory photography.

Vestiges of Memory: Intersections between Photography & Autobiographical Memory
Thursday 18th July – Friday 19th July 2024
The University for the Creative Arts, Dover Road, Canterbury CT1 3AN Information, programme and registration: https://www.uca.ac.uk/events/research/vestiges-of-memory

eidolon is delighted to announce the launch of its first international grant for projects which explore, promote and conserve vernacular photography. The deadline for submission is 30 August , and applications can be made under two categories, with a total of €25.000 to be distributed. The eidolon Grant is an international programme that is presented annually to artists, academics, professionals, researchers, collectors and vernacular photography enthusiasts whose past work and proposed project is centred around the image heritage of everyday photography.

Details: https://everydayphotography.org/centre/grant#about

Visual Arts Worcester (VAW) is honoured to host the British photographer Adam Fuss who will be in conversation with art historian Geoffrey Batchen. Adam Fuss is a contemporary British photographer. Known for his ethereal images created using a photogram technique in which objects are placed directly on light-sensitive painter, Fuss achieves a poetic sense of detachment and wonder throughout his work. As reviewed in The New Yorker: “A restlessly inventive photographer, Fuss has made some of the most exciting, mysterious and provocative images of the past twenty years.” Widely shown, his work is represented in many American and international collections, including: Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Los Angeles County Museum of Art and Victoria and Albert Museum, London.

Geoffrey Batchen is a specialist in the history of photography and taught art history in Australia, the United States and New Zealand before coming to the University of Oxford in 2020. He began his career as a curator, having edited art magazines, hosted a radio show, and published a variety of books.

In conversation with Adam Fuss and Geoffrey Batchen
Tuesday, 28 May 2024 at 1730
Free admission
Sultan Nazrin Shah Centre, Worcester College, Walton Street, OX1 2HB
Booking here: https://www.ticketsource.co.uk/visual-arts-worcester/in-conversation-with-adam-fuss-and-geoffrey-batchen-free/e-zlgdde

For the upcoming book 'Roaming Britain: Gypsy, Traveller, and nomadic communities in the British built environment', RIBA will be commissioning a photo essay from a photographer of Gypsy, Roma, or Traveller heritage. The photographs should reflect the subject of the book, but this is left open for interpretation.

The photographs will also be acquired into the RIBA Collections and will form part of a touring display organised by RIBA in collaboration with colleagues from the Victoria and Albert Museum (V&A).

Gypsy, Roma, and Traveller photographers, from smartphone hobbyists to professionals, who are currently living in the UK are invited to apply. The successful candidate will be awarded £3,500 and will need to complete the work by Friday 20 December 2024. The completed body of work should consist of 10 to 15 images.

The commission is funded by RIBA thanks to the generosity of Donald and Nancy Notley.

Applicants should provide an outline of how they might approach the subject, as well as reasoning behind their chosen approach. Some themes they may want to consider, but are by no means required to, are:

• interactions with public space
• identity, tradition, and legacy
• adaptation and resilience

Full details: https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/roaming-britain-open-call

Image: Photograph of Travellers’ encampment at Corke’s Meadow, St Mary Cray, London, by Reginald Hugo de Burgh Galwey, 1954 (Architectural Press Archive / RIBA Collections)

Chicwick Auctions is to offer an archive of photographic works and personal effects of Wolfgang Suschitzky in an auction on 6 June 2024.  The material is desecribed as 'A large collection of negatives, transparencies, personal records, photographic equipment, and selection of photographs, dating between the 1960s and the early 2000s, many with Suschitzky's handwriting, captions, notes, and labels affixed to objects'. It is estimated at £1000-2000. 

19th & 20th Century Photographs
6 June 2024 at 11000
Details here

Lempertz auction house is offering a Lippmann interferential colour process self-portrait of Richard Neuhauss photograph dated 1901 in an auction on 4 June 2024. The lot is estimated at €6000-8000. A comparable piece can be found in the Albertina Museum in Vienna. Neuhauss was closely associated with the Lippmann process. 

Lot 501
DR. RICHARD NEUHAUSS
Blankenfelde 1855- 1915 Groß-Lichterfelde
Self portrait, 1901

Interferential photograph (Lippmann process). 6.9 x 4.7 cm (8.5 x 6.3 x 1.9 cm).. Signed, dated,
titled and inscribed "Lippmann's Verfahren" in ink on the verso.
Estimate € 6,000 - 8,000

Provenance
Private property, Northern Germany
Supplement:
Anonymous
Stufenfarbentafel (Agfa), not dated
Interferential color photography (Lippmann process)
6.7 x 8 x 1.5 cm

Read more here (Präsentationen_1246_lot 501_en.pdf)

Details: https://www.lempertz.com/en/catalogues/lot/1246-1/501-dr-richard-neuhauss.html

The British Library is seeking a cataloguer to work on an archive of modern architectural drawings, photographs and maps related to Hampi Vijayanagara, a UNESCO World Heritage site in south India.

This archive, known as the Vijayanagara Research Project, was formed by Dr John Fritz and Dr George Michell from 1986 to 2006 and features the work of a number of architectural historians who systematically documented the topography and archaeology of the site. These important archaeological records provide a chronological continuation of the Library's historical collections related to the site and acts as an important resource for researchers working on cultural heritage. The collections were donated to the British Library in 2016.

The post-holder will be required to arrange, catalogue, edit metadata as well as research and identify archaeological and architectural sites in South Asia in order to make the collection accessible to users.

See full details: https://www.vercida.com/uk/jobs/cataloguer-of-visual-arts-british-library-st-pancras

DalkeithPhoto is an exciting new exhibition running at Dalkeith Palace from 8 September-6 October 2024. Featuring an exhibition of The Buccleuch Family Album Collection (first showing), work by Calum Colvin and RPS touring exhibition ~ Squaring the Circles on Neo Pictorialism ~ including Céline Bodin, Susan Derges, Joy Gregory, Takashi Arai, David and Angela Chalmers, Spencer Rowell, Tom Hunter, Ian Phillips McLaren and David George.

As part of this an impressive cast of expert speakers will be celebrating and exploring DalkeithPhoto, Neo Pictorialism and much more through presentations and conversation on Saturday, 7 September 2024. This symposium is a must for anyone interested in contemporary and historic photography.

With an introduction from Zelda Cheatle, photographer, curator and author and keynote speaker Sara Stevenson and talks from artists exhibiting in the accompanying exhibition Squaring the Circles: , the full symposium programme follows below.

Changing Ideals in Pictorial Photography. Pictorialism and the Royal Photographic Society. Michael Pritchard, Photo historian, Consultant

Constructed Photography. Exhibiting Scottish artist Calum Colvin in conversation with Squaring the Circle artists Tom Hunter and Spencer Rowell.

Cameraless Imagery and Early Printing Techniques. Artist Alex Hamilton in conversation with artists Susan Derges, Angela Chalmers and Joy Gregory.

Scottish Archives, Photographic Albums, Aristocracy and Collections. A conversation with Walter Dalkeith, Luke Gartlan and Alex Lindsay.

Keynote lecture: The Two-way Gaze: Scotland and the Invention of Social Documentary Photography. Sara Stevenson, photographic historian, writer and expert on early Scottish photography.

The Art and Application of the Daguerreotype.Takashi Arai, artist.

Tour of the Exhibition, the Interaction of Painting & Photography, Pictorialism and Neo Pictorialism with exhibiting Squaring the Circles artists Tom Hunter, David George and Celine Bodin.

Tickets are available priced £55pp. Tickets include refreshments and a light lunch.

Book here: https://www.dalkeithcountrypark.co.uk/event/dalkeithphoto-symposium/

Details of Dalkeith Photo2024 are here: https://www.dalkeithcountrypark.co.uk/event/dalkeithphoto/

The annual Photographica collectors fair takes place on May 19th at the Royal National Hotel, Bloomsbury. Organised by the Photographic Collectors Club of Great Britain, the show usually has an emphasis on cameras and equipment, but this year an increased number of image dealers will also be exhibiting. With a number of other events taking place in London that weekend, inlcuding the ABA Firsts book fair and Photo London, a number of dealers expressed an interest in finding a platform to exhibit.  Exhibitors taking part, who primarily deal in images, include  Richard Meara, Paul Frecker, Pump Park Vintage Photography, Lisa Tao, Iain Burr, Sean Sexton and Adnan Sezer. The fair opens at 10am and admission is £8 before noon, and £5 afterwards. 

Peter Kennard is a London-based artist and activist, and Emeritus Professor of Political Art at the Royal College of Art. A new exhibition, Archive of Dissent, marks one of the most extensive displays of Peter Kennard’s work to date and has been specially conceived for Whitechapel Gallery. Taking over three galleries within the former Whitechapel Library space, the exhibition brings together work from across the artist’s prolific and influential five-decade career, offering an important repository of social and political history while illuminating an artistic practice that has continuously countered and protested the status quo.

Since the 1970s, Kennard has produced some of our most iconic and influential images of resistance and dissent. From the Vietnam War, Anti-Apartheid Movement, Campaign for Nuclear Disarmament (CND), and Stop the War Coalition campaigns in the 2000s, through to the present wars in Ukraine and Gaza and his ongoing commitment to environmental activism, Kennard has developed a unique visual practice that bridges art and politics for a broad range of audiences.

Reflecting the history of the spaces’ former library function, Kennard’s proposition for the exhibition takes the form of an active and constantly evolving archive, much of which will be presented as printed material displayed on walls, placards, in vitrines or on lecterns. These include the newspapers where his images were first published, as well as the posters and books through which they continue to circulate.    

The exhibition delves into the artist’s process of making, beginning with a selection of the distinctive photomontages he has been making since the 1970s. Inspired by the work of John Heartfield (1891–1968), who pioneered montage as a political tool in the 1930s, Kennard’s montages deconstruct familiar and ubiquitous images and re-imagines them through different formats and scales of publication. The works not only serve to expose the relationship between power, capital, war and the destruction of planet Earth but also ‘to show new possibilities emerging from the cracks and splinters of the old reality’. 

Archive of Dissent also includes two of Kennard’s most recent and ambitious installations Boardroom (2023) and Double Exposure (2023) which use light, glass and projection to deconstruct the medium of photomontage, as well as a new work, The People’s University of the East End (2024). Taking its title from the colloquial name for the former Library space, the work draws attention to its original purpose as a democratic local resource, while continuing to harness and evoke the iconography and forms of protest.  

Peter Kennard comments: “My art erupts from outrage at the fact that the search for financial profit rules every nook and cranny of our society. Profit masks poverty, racism, war, climate catastrophe and on and on…Archive of Dissent brings together fifty years of work that all attempt to express that anger by ripping through the mask by cutting, tearing, montaging and juxtaposing imagery that we are all bombarded with daily. It shows what lies behind the mask: the victims, the resistance, the human communality saying ‘no’ to corporate and state power. It rails at the waste of lives caused by the trillions spent on manufacturing weapons and the vast profits made by arms companies.”

Peter Kennard - Archive of Dissent
23 July - 24 November 2024
London: Whitechapel Gallery
https://www.whitechapelgallery.org/exhibitions/peter-kennard-archive-of-dissent/

Image: Peter Kennard, Thatcher Unmasked, 1986, Photomontage – Gelatin silver prints with ink on card. a/political collection. Courtesy the artist.​

Chris Chapman was born in Wigan, Lancashire in 1952. He began his photographic career at the Newport College of Art in South Wales where he was invited to join the Documentary Photography Course run by the Magnum photographer, David Hurn.

In 1975 he moved to Dartmoor, since when he has documented aspects of Dartmoor life. His photographs reflect traditional skills inherent in the indigenous population and emphasise the accumulation of knowledge associated with age and customs. He has a large archive depicting the culture and character of the region. He was a friend and collaborator with James Ravilious.

His photography has been widely recognised and is represented in both public and private collections, including those of the Victoria & Albert Museum in London, the Arts Council of England and the International Center of Photography in New York. His work has been published under various titles, including The Right Side of the Hedge (David & Charles), Dartmoor: The Threatened Wilderness (Channel 4) and Wild Goose and Riddon.

The Dartmoor Photographs of Chris Chapman now make the most integral element of his work accessible to the public in one place in this free exhibition and the aim of this project is to expand the collection as time progresses.

A short presentation by Chris about his photography is free to view here: https://www.youtube.com/watch?v=MJL_Kk4_cHw&t

The Dartmoor Photographs of Chris Chapman
Permanent display, but check for opening days and times
Providence Methodist Chapel, Throwleigh, Dartmoor EX20 2HZ
See: https://thedartmoorphotographs.com

Chris's website is here: https://www.chrischapmanphotography.co.uk/

The Photographic History MA Programme at De Montfort University is now recruiting the new student cohort for the academic session 2024/25, with delivery modes available as full time, part time or per-module. Per-module applications from professionals looking for Continuing Professional Development (CPD) opportunities are also very welcome.

Take advantage of the flexible mode of delivery to study around your job, family, and other personal or professional commitments.

The Photographic History MA is delivered online, enabling students to complete the vast majority of module activities and assessments asynchronously (i.e. you can complete them at your own time, day or night within the module schedule).

It will provide you with the skills needed to explore photographic materials, practices, processes, and critical field scholarship. Along the way, it will equip you with real-world professional expertise through remote fieldwork experience at leading photography organisations.

Term 1 Modules:

Learning Photographic History Online;

Material Histories;

Photography, Ethics and Emotions;

Producing and Consuming Photographs;

Photographic Historiography.

Term 2 Modules:

Photography and Politics;

Photography, Science and Technology;

Fieldwork Experience.

Term 2x Modules:

Dissertation or Heritage Project

NOTE: All modules are indicative and based on the current academic session.

Aimed at anyone with deep interest in photographic practice, communication media, visual history, or archival collections, the Photographic History MA will prepare you for further study and careers in the culture sector. Join us to discover how digital and analogue photography have shaped the ways we imagine the past and how we experience life in the present day.

For more information, visit Photographic History MA and should you have any questions please feel free to get in touch directly with me at gpasternak@dmu.ac.uk