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Launched on World Stereoscopic Day, this lavishly illustrated book shows the unique skills of a gifted, amateur pioneer of 3D photographer, Reginald Grove. A country doctor in the early twentieth century. Grove was a gifted amateur stereographer.

In addition to being a member of the United Stereoscopic Society, Reginald was elected in 1925 as President of The Stereoscopic Society and served in this role for 23 years until his death in 1948. He was elected a member of the Royal Photographic Society. He was a regular exhibitor at their annual exhibitions in the years up to the Second World War and became well known for the quality and composition of his work, particularly of his character studies of country folk, most of whom were his patients. Examples of his photography are now held in the George Eastman Museum, Rochester, New York, the J. Paul Getty Museum, Los Angeles, and the Victoria and Albert Museum in London.

Peter Flower, is a grandson of Reginald Grove. He read modern history at King’s College, London University and was elected an Associate of Kings College (AKC). He has written a 3-volume biography on Reginald Grove.

Viewing the stereo images with a simple, hand held, modern 3D viewer will bring Reginald’s work to life; the Lite OWL is an inexpensive viewer which can be bought online from the London Stereoscopic Company Ltd: https://shop.londonstereo.com/lsc-owl-viewer.html

The Enduring Photographic Legacy of Reginald Grove. A gift amateur stereoscopic photographer
Peter Flower
Brown Dog Books, 2025
£24.99 (free P+P if ordered direct from the publisher)
See: https://www.browndogbooks.uk/products/the-enduring-photographic-legacy-of-reginald-grove-peter-flower

In the annals of mountaineering history, few tales were as compelling and transformative as Edward Whymper’s. First published in 1871, this classic work chronicles the first successful climb of the Matterhorn in 1865, a feat that heralded mountaineering as a popular sport and spawned a new genre – that of the high-thrills adventure book. It was soon recognized as a masterpiece and the Times wrote about his gripping bestseller, The Ascent of the Matterhorn, that ‘you can almost hear the tinkle of bells on the Apls; you breathe the fresh fragrance of the pine trees’.

Almost 150 years later Whymper’s memoir is republished for the first time in an expanded illustrated edition. Whymper was not only a keen mountaineer but also a Victorian driven by an insatiable curiosity. One of his pursuits was photography and in 1874 he was the first man to lug a mobile camera on to the Matterhorn to take pictures. He used these pictures for his lantern-lecture tours around the world and they are included for the first time in this edition.

In the nineteenth century the book opened a window on to the Alps but in the 21^st century, it is still a landmark in autobiography for ramblers and climbers alike. Bill Bryson has long been an admirer of Whymper's work, which is one of his favourites. In his view,  is not just a mountaineering classic but a testament to the indomitable human spirit. Bryson appreciates Whymper's meticulous attention to detail and his ability to convey the awe-inspiring beauty and formidable dangers of the Alps. According to him Whymper’s ‘glorious’ narrative transcends its genre with its leap from exhilaration to complete desolation, offering a dramatic reflection of human ambition and the relentless pursuit of dreams.

Today the Matterhorn is still treacherous with its implacable ridges and it certainly was on the day of the ascent, made on July 14, 1865, for the men in the their tweeds and rudimentary mountaineering equipment and skills. Whymper's team consisted of seven climbers, including Michel Croz, Lord Francis Douglas, Charles Hudson, and Douglas Hadow. Their summit success was overshadowed by tragedy during the descent, when Hadow slipped, causing a catastrophic fall that claimed the lives of Croz, Douglas, Hadow and Hudson. They had crossed the fine line between triumph and disaster and Whymper could never unsee the sudden dispatch to their deaths of the men he had led to victory.

Whymper’s account is both a gripping adventure story and a meticulous chronicle of his repeated attempts and eventual triumph.In her foreword, Theresa May reflects on the historical and personal significance of Whymper’s journey. She draws parallels between the challenges faced by Whymper and those encountered in political and personal arenas, highlighting the timeless virtues of perseverance, courage, and leadership. May's insights add a contemporary dimension to Whymper’s tale, emphasizing its relevance to modern readers.

The Ascent of the Matterhorn. The forgotten photographs
Edward Whymper, foreword by Theresa May 
Gibson Square, 2025
ISBN: 9781783342846
£16.99, 288 pages

The National Science and Media Museum will open its much-anticipated permanent Sound and Vision galleries to the public on Thursday 10 July. This marks the culmination of a £6.8 million transformation of the museum, the new galleries span two floors of the museum, showcasing world-class collections of photography, film, television, animation, gaming and sound technologies in new and innovative ways. The museum review here partially re-opened in January. 

Thanks to a transformational gift from The National Lottery Heritage Fund – made possible by money raised by National Lottery players, the new galleries feature over 500 exhibits, a new art commission and a range of interactive displays. Designed by award-winning AOC architecture and futureproofing the museum for years to come, the galleries have been years in the making. Their opening marks the completion of the Sound and Vision project, exploring globally significant stories of technological innovation and social change.  

Consultation and collaboration with key audiences and community groups has been at the centre of the creation of the new galleries, ensuring the stories told resonate with as broad an audience as possible. Underpinning the galleries has been a vibrant set of activities, supporting greater access, representation and volunteering opportunities, focused on enabling more people to engage with the museum and its collections.  

Throughout the project, the museum has engaged and consulted with community leaders, access groups, young people and schools including SHINE West Bowling, Morley Street Resource Centre, and Bradford Deaf Centre, among many others. Volunteers have also played an integral role in the project's development, with volunteers contributing over 1900 hours of time to consultations and engagement activities.

The Sound and Vision galleries have been shaped by the voices of people from Bradford and beyond. Through extensive collaboration, local communities have helped to influence not only which stories are told in the new galleries, but how. The museum’s Youth Forum and Access Panel played a key role in shaping the space, offering fresh perspectives and encouraging the museum to think differently about how to present star objects and stories from their collections to make them accessible and engaging to all.    

Partners such as Allstar and BCB Radio have brought vital local perspectives to the galleries, reflecting the creativity and diversity of Bradford’s cultural scene whilst creating narratives that are relatable to people both from the district and those visiting. Individual contributors such as Paul Seal, a disabled gamer whose gaming setup enables him to continue to play through adapted technology, also shared personal insights that bring depth and authenticity to the galleries, highlighting how innovation in media technology can empower individuals. Collaboration with the Marshall Factory, a renowned name in sound technology, further added industry insight and national perspective to the galleries. Together, these contributions have helped make the galleries more inclusive, and representative of both local communities and wider society.  

Marking a new era and launching during a momentous year for Bradford, these object rich and interactive gallery spaces confirm the museum’s position as a national museum rooted in its community. As well as spotlighting hundreds of previously unseen exhibits, visitors who know the venue well will sense echoes of the museum’s past, with a Dalek greeting them on Level 5, a delightful new exhibit on loan from Aardman animation studios, and charming film footage of the museum’s now retired magic flying carpet, which was once a firm favourite with visitors, captured by the legendary Bradford Movie Makers.  

Jo Quinton-Tulloch, Director of the National Science and Media Museum commented: “We are thrilled to be launching our new permanent Sound and Vision galleries this month. They have been a true labour of love and collaboration, and they showcase our incredible collections in new and innovative ways. Our collections and the rich narratives they tell touch upon all our lives, from the first photographic negative and film footage to the advent of radio and television, and the power of sound technologies to bring us together. Our Sound and Vision galleries showcase how everyday objects have the power to be extraordinary.    

We have worked closely with a huge range of people to develop the galleries, ensuring these spaces work for everyone and that our visitors feel represented in the stories we tell. Consultation with our local communities has been central in the development of Sound and Vision and it feels especially significant to launch the galleries during Bradford’s year as UK City of Culture. We hope the galleries will be a key focal point in our city’s momentous year and for a long time to come.  And we are incredibly grateful to the National Lottery Heritage Fund and the support of National Lottery players for making Sound and Vision possible. We can’t wait to welcome visitors to explore our new galleries soon.”  

Helen Featherstone, Director, England, North at The National Lottery Heritage Fund added:  “The Sound and Vision galleries at the National Science and Media Museum are a cultural gem for the city, telling the story behind the photographic, film and sound technologies that have played such a big role in our lives. We’re incredibly proud to have funded these wonderful galleries thanks to National Lottery players."

Look out for more details and pictures shortly

The V&A Museum is seeking a Project Archivist and Project Cataloguer to work on and support the Royal Photographic Society (RPS) digitisation project. The RPS Project is a vital part of the V&A’s broader programme of cataloguing, digitisation, collections care and access. It aims to safeguard the collection and provide meaningful access to benefit and inspire current and future generations. The initiative is headed by recently appointed Amy Mayhew, who reports to V&A senior curator of photography Martin Barnes. 

Project Archivist. The main purpose of the role is to catalogue the Royal Photographic Society archive in accordance with the International Standard for Archival Description (ISAD(G)) using the Museum’s Collections Management System.

Project Cataloguer. The main purpose of the role is to create new catalogue records for objects in the RPS collection and, with the Project Manager, to supervise volunteers to input basic cataloguing data. The V&A seeks to accelerate digitization through a new RPS Project Team, with cataloguing as a central focus.

Both roles are three-year, full-time, fixed-term contracts. 

The RPS collection is the largest and most important collection of photography at the V&A. It contains many items of global significance, including some of the earliest photographs, artworks by well-known photographers, invaluable documents of history and evidence of 200 years of technical and scientific advances. The collection numbers an estimated 310,000 photographs, negatives, pieces of photographic technology, books, journals and archive items. Some 90% of the collection remains to be catalogued, imaged and digitised. 

Applications for both jobs close on 18 July 2025. See the links above for full details. 

Amy Mayhew has been appointed Project Manager for the five-year digitisation project of the Royal Photographic Society (RPS) Collection at the V&A Museum. The job was advertised earlier this year as a five-year fixed-term contract. 

Amy joins the V&A from the British Film Institute where she spent over eleven years in various roles. Latterly she specialised in the management and delivery of large-scale digital access cultural heritage projects. Previous work includes the digitisation of film, videotape, and stills collections, as well as 35mm film printing, the Film on Film Festival, and Britain on Film.  She has a Masters in World Cinema from Birkbeck. 

The new role is to plan, budget, monitor, report on and drive forward the RPS Digitisation Project. The V&A's stewardship of the RPS Collection is at an inflexion point and the digitisation will start with the RPS photographs ultimately making them available online with full catalogue descriptions. Detailed plans are still being determined but the work may extend into some of the archival material and, perhaps, the technology colllection later in the project. 

The V&A is assembling a team to support the initiative and two new archivist and cataloguing jobs are currently open. The project will also be making use of volunteers to bring specialist and practical skills to the project.  

Image: courtesy of Amy Mayhew