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The obituary below will help reflect the life of a good friend and wonderful photographer PAUL CAPONIGRO.

The photo was taken in 1978  on a workshop when Paul was showing me(beard) and participants his 5x7 camera.

He was one our early workshop leaders at The Photographers Place in Derbyshire where he lead workshops in 1978 and 1980. I was also involved with an exhibition of his work at The Watermans Art Centre in the 80s, and was chair of an accompanying seminar with Paul and Thomas Joshua Cooper. He was a generous human being, great teacher and his seminal photographic art speaks for itself. I first met him in 1975 at his home in New Mexico with his wife Eleanor. He and Eleanor, who worked at a museum in the area, were wonderful hosts to Tom Cooper and me. We were compiling interviews for Dialogue with Photography and he wanted to know if we were going to interview him. "No, you're far too young - you're only 8 years older than me!" I told him much to Tom's amusement.

But it is always the amusing and quirky anedotes that reveal much more than eulogies and dates. Fay Godwin came to Bradbourne to watch Paul print in my darkroom and was delighted that he confirmed that her approach and technique in the wet darkroom matched his. Cream teas featured heavily on our field trips in the Peak District National Park, but it was one episode that I and the participants will remember on Stanton Moor near an ancient stone circle. He genuinely believed in wood nymphs, but I digress. I pointed out three abandoned round millstones and he was away. Out came his 5x7 former New York press camera (he liked it because it had a cartridge for dark slides that tumbled into it after use) and tripod and dark cloth. The millstones were under the branches of a silver birch, but one fell over the top of the upright stones. In a flash he marched over to the tree and snapped off the branch. One of the more sensitive nature-loving participants, who had been enthralled watching his hero, exclaimed: "Why did you do that,Paul?" "I was just improving on Nature," he replied, which proved that despite his legendary spiritual credentials he was more a photographer than an environmentalist. After all, we know that the photograph is the event and the experience, and will last longer than the tree if you tone and wash the print properly.....😉

During my daily research into the history of photography, its origins, and tools, I came across this photograph in 2019. I found it among a pile of old photos, magazines, and newspapers, almost falling apart, in one of the antique and secondhand markets in the Hungarian capital, Budapest. Intrigued by the photograph, I began investigating its history with only the name of the studio and the country printed on it. My initial findings indicated that the photo was taken between 1880 and 1884 in Bucharest, the capital of Romania, by a photographer renowned in academic and artistic photographic circles worldwide and in Romania’s photographic culture, Franz Duschek.

I often delve into the history of photographs and cameras to document them and deepen my understanding of their historical, artistic, and technical contexts. These insights later serve as material for my research articles on the history of photography. However, what caught my attention and piqued my curiosity about this particular photograph was the embroidered attire of the woman in the image. The dress bore a striking resemblance to traditional Palestinian embroidered garments, known as the "thobe," as well as the attire of the broader Levant region. This resemblance prompted me to investigate further.

I began questioning whether the woman could have been from a migrant generation from the Levant, specifically Palestine, to Romania. Research revealed that a significant number of Palestinian and Levantine families had migrated to Romania and neighboring countries during the Ottoman presence along the Black Sea coasts. After a brief investigation, I found that the traditional Romanian attire closely resembled, almost to an astonishing degree, the Palestinian embroidered thobe and traditional clothing from other Levantine countries. While this resemblance was intriguing, I did not delve deeply into the possible cultural influences between Palestinian or Levantine migrants and Romanian folk attire, as it was outside the scope of my research. Nevertheless, I hope that someone might someday explore whether the ancient Canaanite Palestinian thobe influenced Romanian folkloric dress.

The most surprising discovery about this photograph came when I searched the Romanian National Archives for historical photographs using the time period and the photographer’s name. I found that the image I had was of Queen Pauline Elisabeth of Romania. She had a passion for photographing herself in traditional Romanian attire to present herself to Romanian society as one of their own, as she was of German descent. Pauline Elisabeth became a princess after marrying a Romanian prince in the 1860s and later ascended as Queen of Romania when her husband, King Carol, was crowned in 1881, marking the establishment of the Romanian monarchy.

This photograph is one of the rare copies, most of which were directly sent to the queen or kept in the royal archive. Some were distributed by the royal palace as gifts to princes, princesses, and the aristocracy of Romania on national occasions, along with other photographs of the king and the royal family. Therefore, finding a copy of such a photograph among a heap of deteriorating papers, newspapers, and magazines is an extraordinarily rare occurrence. My search into the storage locations of such royal photographs revealed that the original copies are preserved only in Romania’s historical archives and the Romanian Museum.

What adds even more fascination to this story is that the queen in the photograph, before becoming a princess, during her time as a princess, and even after her coronation as queen, was an accomplished poet. She wrote and published poetry in German, French, English, and Romanian under her literary pseudonym "Carmen Sylva," a name well-known in German literary circles in particular and European and Romanian literary circles in general. After her coronation, she earned the title of "The Literary Queen."

The photographer Franz Duschek, who captured this image, was one of the most celebrated and renowned photographers in Bucharest. Although not Romanian himself, he became known across Europe for his artistic indoor portraits, taken either in his studio or in the homes of wealthy aristocrats and the royal family. Duschek also gained particular fame for his children’s portraits, considered some of the most challenging to capture. He would often use sweets and toys to distract the children from the camera.

In 1883, Duschek decided to leave Romania due to health issues exacerbated by the cold climate. Seeking a milder environment, he moved to Alexandria, Egypt, after selling all his possessions in Bucharest. Unfortunately, Duschek passed away a year later in Alexandria.

Sources differ regarding his birthplace and place of death. Some suggest he was born in Prague, while others claim Budapest. Similarly, his death is variably reported as having occurred in Suez or Alexandria. What remains undisputed in all accounts is that Franz Duschek was an exceptional and pioneering photographer who left behind a remarkable legacy in photographic art, particularly in portraiture. His iconic portraits of the "Literary Queen," Carmen Sylva, remain a testament to his artistry.

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer

Early Visual Media Lab — CICANT, from Lusofona University, together with the International Panorama Council and the Art History Institute (IHA, NOVA-FCSH/IN2PAST) invite scholars, artists, panorama enthusiasts and visual media researchers to submit proposals for presentations that explore the theme “The World at a Glance. Panoramic and Peep Technologies.’” This recasting of Robert Barker’s original title for his invention (1787), “Nature at a Glance” (in French, “La Nature à Coup d’ Oeil”), will explore the modern desire to experience the world visually through panoramic or peep technologies and to embark in virtual travels. Panoramas and panoramic imagery shared these early immersive experiences with (itinerant) peepshows, cosmoramas, neoramas, dioramas, and, among others, in the domestic space, zograscopes, stereoscopic photography, graphoscopes and polyoramas. These theatres of visuality were key achievements in art, education and science, fostering visual curiosity and new skills of looking. Either engaging a distant or a proximate gaze, requiring lenses or a specific vantage point on a viewing platform, these technologies made the world in all its aspects admirable and available at a glance. In addition to challenging the visual sensorium, panoramic and peep technologies often intersected and mobilized a synesthesic universe. By exploring their coexistence and intermediality, new light will be shed on the visual cultures and worldviews they promoted. 

This next IPC conference in Lisbon will showcase such intersections and remediations with the exhibition The Cosmorama: The 19th-Century Hidden Travels, held at the Portuguese Cinematheque. Curated by the research project Curiositas. Peeping Before Virtual Reality, this exhibition will draw on extensive historical research that unearthed the cultural history of the European Cosmoramas. It will include physical and virtual recreations of cosmorama rooms, showcasing Panorama and Cosmorama artists such as Hubert Sattler from Salzburg.

We welcome proposals for field reports, creative presentations, media presentations, and scholarly papers of up to 20 minutes in length that focus on panoramic or/and peep technologies, their specificities, intermedialities, socio-cultural and political roles, as well as their current digital and virtual cultures, and their conservation, display and mediation challenges.    

The IPC conference will present a diverse range of session topics based on the proposals, as well as workshops, round tables and visits. It will be of interest to academics, professionals, students and enthusiasts of art, visual media, art history, conservation and preservation, cultural heritage, design, history, museum practice, panorama management, restoration, virtual reality, and visual culture, as well as to thinkers and makers from other disciplines or whose work is transdisciplinary with an interest in immersive and peep media, media archaeology or any other related field. 

Full details: https://revistas.ulusofona.pt/index.php/stereo/announcement/view/219

The London Archives and Royal Institute of British Architects (RIBA) have announced a unique collaboration that will - for the first time ever - showcase their impressive collections alongside one another. From summer 2025, the London Archives - formerly the London Metropolitan Archives - will host some of the most popular items from the RIBA Collections, one of the largest architectural collections in the world, alongside the archives’ collections of books, documents, manuscripts, maps, images, and photographs.

The partnership will coincide with the temporary closure in April 2025 of RIBA’s renowned library to enable the refurbishment of RIBA’s London headquarters at 66 Portland Place, as part of its House of Architecture transformation programme.

The collaboration will help ensure that RIBA’s collections currently housed at Portland Place remain accessible to users, and within short distance, during the building’s closure period.

The partnership will allow RIBA to utilise our state-of-the-art conservation and digitisation spaces, ensuring that vital work on conserving rare books and digitising RIBA’s collections continues seamlessly during the refurbishment of 66 Portland Place.Executive Director of Architecture Programmes & Collections at RIBA, Oliver-Urquhart Irvine said: 'Our partnership with The London Archives is an exciting step towards ensuring that our invaluable collections are as widely accessible and well-cared for as possible. This collaboration is not only about preserving access to RIBA’s collections while we undertake the transformative refurbishment of 66 Portland Place, but also inspiring new discoveries and connecting more deeply with architectural professionals, researchers, students, and the public – indeed, anyone with an interest in, or passion for, architecture. Together, we will unlock exciting opportunities that showcase the dynamic interplay of architecture, history, and culture.'

See: https://www.thelondonarchives.org/your-research/riba-at-the-london-archives

Image: Oaklands Estate, Poynders Road, Eastman House, 1936. London Picture Archive - 265971

Professor Annebella Pollen's covid-delayed inaugural professorial lecture will take place on 5 March in Brighton. She will be talking through and reflecting on some of her core interests and major projects of the last 20 years, and pose the questions: What kind of stories can historic images and objects tell us about the past? When objects and images are preserved, in personal collections or in institutional archives, what kinds of futures are they expected to serve? And what happens when those stories get lost, or those histories are forgotten?

For over two decades, Professor Pollen has built a series of studies that reinterpret undervalued collections and examine visual and material culture that has been pushed to the margins. From photographs found in end-of-life house clearances to the visual archives of utopian movements, she questions what gets wasted and saved, what gets culturally consecrated and what gets overlooked. The lecture reflects on how we use images and objects to narrate our lives, and how seeing and feeling historic images and objects can offer fresh perspectives for the present day.

The talk will be recorded and made available after the event. 

Images, objects and their afterlives
Professor Annebella Pollen
Wednesday 5 March 2025 at 6.30pm
Sallis Benney Theatre,
University of Brighton, 58-67 Grand Parade,
Brighton, BN2 0JY
Free event. All are welcome, but register: https://www.brighton.ac.uk/research/research-news/films-and-publications/inaugural-lectures/professor-annebella-pollen.aspx

The Bill Douglas Cinema Museum is recruitng for two postdoctoral posts to support the work of Professor Helen M Hanson (Project Lead), and the project team on the Arts and Humanities Research Council-funded project: Women’s Screen Work in the Archives Made Visible (2024-2028). The two roles are: Postdoctoral Research Associate (Archives) and Postdoctoral Research Associate (Curation). 

The Project researches the work of British women filmmakers in the British Film Institute National Archive at the Conservation Centre, Berkhamsted and the Bill Douglas Cinema Museum at the University of Exeter. It aims to make their work more discoverable in film-related archives through innovative archival practice, and to translate their work to public audiences through curation of exhibitions in film museum contexts

You will work primarily with the Project Lead (Helen M Hanson) and BFI Project Co-Lead (Wendy Russell) in the BFI National Archive (Conservation Centre, Berkhamsted), spending approximately 3 days per week at the archive during the project. You will become familiar with archival practice at the BFI and will have the opportunity to apply this to agreed collections. You will innovate and test feminist approaches to archiving and will contribute to cataloguing collections of selected women filmmakers (such as Tina Gharavi, and Gurinder Chadha). You will also disseminate the research findings of your work by engaging a range of audiences: the archival community, academics and wider publics.

Details: https://jobs.exeter.ac.uk/hrpr_webrecruitment/wrd/run/etrec179gf.open?WVID=171839ediw&LANG=USA and https://jobs.exeter.ac.uk/hrpr_webrecruitment/wrd/run/etrec179gf.open?WVID=171839ediw&LANG=USA

Dogs in Early Photography  is based on Koh’s extensive collection of early dog photography, now donated to the Bodleian. Dogs explores the physicality of the dog, the human obsession with breed, and how pet dogs came to reflect the status and personality of their owners. Most importantly, this collection celebrates the unique relationship between humans and dogs, as photographs, either purposely or accidentally, capture the charm and endless appeal of dogginess across breeds, class, roles, and time.

The selections from the collection that prompted this book show a variety of dogs in settings ranging from the studio to the field and stream. They demonstrate the difficulty in capturing a moving subject in early photographic formats ranging from unique daguerreotypes, ambrotypes and tintypes in the 1850s to popular cartes de visite after the middle of the century. It also explores the physicality of the dog, the human obsession with breed, and how pet dogs came to reflect the status and personality of their owners. But most importantly, this collection celebrates the unique relationship between humans and dogs, as photographs, either purposely or accidentally, capture the charm and endless appeal of dogginess across breeds, class, roles and time.

Richard Ovenden, Bodley's Library said: 'This book is most eloquent in celebrating the art of collecting. Having been a librarian involved in special collections for almost 40 years (and for 35 of those a customer of Bernard Quaritch), I have never encountered such a niche collecting area so beautifully executed into a fully-fledged collection (and in such a short space of time).’

A noted book collector, John Koh has spent years building a vast private collection of photographs and other historical ephemera, including the many nineteenth-century photographs of dogs which are presented in this new book. John Koh is the owner of Bernard Quaritch Ltd and has long been a Friend of the Bodleian and a member of the Bodleian Advisory Board.

Dogs in Early Photography
John Koh
Bernard Quaritch Ltd, 2024
£50
See: https://www.quaritch.com/books/koh-john/dogs-in-early-photography/U68/

From popular photo-magazines published for British citizens, to wall newspapers and pamphlets addressing Indian audiences, a wealth of dynamic visual propaganda in multiple languages and formats was produced to communicate Allied war aims and progress across the globe. Following the surrender of Japan, the machinery of ‘public information’ directed its work (including the network of photographers and the range of photographic outputs) towards the question of colonialism in the postwar world. 

The enormous resources commanded by this initiative, as well as the wealth of institutional archives and published artefacts left behind, evidence the faith placed in visual communications in this period. The continued postwar commitment to the value of visual propaganda is seen in the public relations work of the United Nations. Yet, its relevance for the era of decolonisation has yet to be researched in depth. 

This project addresses the use of official photography and commercial photojournalism in visual propaganda concerning British India (now Pakistan, India, Bangladesh and Myanmar) during the Second World War and up to Partition.  

This project invites candidates to: 

• Assess the centrality of photography to the evolution of public information campaigns about British India and for diverse Indian audiences.  
• Critically analyse the aims and activity of the people and institutions involved in producing visual propaganda, and the photographic material circulated. 
• Examine the interactive roles of the British Army Film and Photographic Unit, the MOI (London) and the Bureau of Public Information (Delhi).  

Aiming to deliver a new cultural history of public information work between war and empire and assessing the relevance of wartime experience to postwar developments for the first time, this project will make a significant contribution to a developing research field addressing visual propaganda and British imperialism (e.g., Chandrika Kaul, James Ryan, Gabrielle Moser).  

Research questions

Drawing on the successful student’s interests, expertise and language skills, the project will bring exciting new interdisciplinary perspectives to the study of pioneering visual propaganda both catalysed by the anti-fascist struggle, but also marked by twentieth-century European colonialism.  

The project will address the following key research questions: 

• Which professional photographers, publications and networks were engaged in the production and circulation of visual propaganda depicting and directed at soldiers and civilians in British India?  
• What was the relationship between official departments such as the Ministry of Information (London) and the Bureau of Public Information (Delhi) in this period? 
• To what extent were Indian photographers being trained, commissioned or employed to record the war effort and the impact of the conflict?
• What photographic publications, pamphlets and artefacts were produced? And what differences can be traced in how the war and the postwar moment were represented in the UK and India?  
• What research methods and historiographical frameworks best facilitate critical examination of the genesis, aims and legacies of visual propaganda across the British Empire? 

Supervisory team

• Helen Mavin, Head of Photographs, IWM hmavin@iwm.org.uk.  
• Dr Gajendra Singh, Exeter University, g.singh@exeter.ac.uk.  
• Dr Tom Allbeson, Cardiff University allbesont@cardiff.ac.uk. 

Full details here: https://www.sww-ahdtp.ac.uk/collaborative-doctoral-award-cda-projects-2024-2025/war-photography-empire/

What is the history of photography’s value a history of? Is it a labour and economic history? An institutional history of museum cataloguing systems and art market pressure? A history of the values promoted by photography as a cultural and social activity? A history of photographic conventions, trends and fashions? Recent publications like issue 8 of Photographica in 2024 and the PHRC conference of 2023 “Photography in its Environment”, showed the increasing volume of work dealing in one way or another with photography and value.  

In this PHRC 2025 conference we look for paper proposals that use the ambiguity of the term “value” as a starting point to reflect on the intertwined political, social, economic, scientific and historical factors that have shaped the value(s) of photography. We encourage the use of diverse methodological perspectives to critically analyse what has made photography valuable to a variety of stakeholders. 

We welcome proposals for 15-minute papers on topics related, but not limited to themes like: 

• Photographic values and ethics 
• The markets of photography  
• Labour and/or economic histories of photography 
• The value of photography as heritage 
• Value systems in photography collections 
• Photography’s influence on social values 

PHRC Annual Conference 2025
Photography, Value, History
June 2025, Hybrid Conference

Call for Papers
Please send paper proposals as a .doc or .pdf of maximum 300 words to phrc@dmu.ac.uk by 10 January 2025, embedding in the document your name, contact details, up to 5 keywords and institutional affiliation (when applicable), and a short biography (80 words). We will be very grateful if you name your file with your surname.

Follow us on X @PHRC_DeMontfort

Conference hashtag #PHRC25

The photographic portrait has been among the most practiced forms of art since the emergence of photography in the mid-19th century. It quickly rose to prominence artistically, socially, and even economically, becoming a sought-after art form among aristocrats and ruling classes in Europe and America. Portrait photography replaced traditional painted portraits, creating official or artistic representations of individuals.

Portrait photography involves various visual elements, ranging from bust portraits showing the upper chest and face to close-ups focusing solely on the face. Some compositions are broader, including the entire body, seated or standing, in ways that reflect the subject's personal, cultural, professional, or symbolic identity. These portraits can be created in studios or outdoor settings.

In 1880, Irish photographer James Lauder, professionally known as James Lafayette, gained fame as a pioneer of indoor portrait photography in Dublin and London, and arguably across Europe. After training in Paris, the birthplace of photography in the 1820s, Lauder founded "Lafayette Studio" in Dublin, adopting a French name to emphasize his artistic lineage. His work gained significant recognition, leading Duchess Sophia Murphy of Devonshire House in London's upscale Piccadilly area to invite him to photograph her historical costume ball in 1897. This type of commission was previously reserved for painters. Lauder's reputation further grew as he photographed prominent British royal figures, including Queen Victoria, earning the titles "Victorian" and "Edwardian" photographer, titles previously exclusive to painters.

The Duchess prescribed specific Eastern and Western costumes for her guests, inspired by characters such as Cleopatra, Zenobia (Queen of Palmyra), Bilqis (Queen of Sheba), Desdemona, Cassio, Sir Galahad, Romeo and Juliet, knights of the Round Table, and mythical Greek and Roman figures. Lauder meticulously transported studio elements, including custom-painted backdrops, lighting equipment, and development materials, to the venue. He paid extraordinary attention to detail, even developing glass negatives on-site to ensure the best results, allowing him to adjust poses and angles as needed.

Lauder’s innovation extended to custom-designed backdrops, tailored to complement the historical costumes of his subjects, setting a precedent for portrait photography studios. His work earned multiple patents for photographic techniques, influencing subsequent generations of photographers. His approach, combining patience, technical precision, and artistic vision, positioned photography as a viable competitor to traditional portrait painting.

"Lafayette Studio" operated in Dublin from 1880, later expanding to Glasgow, Manchester, and London. However, following Lauder's death in 1923, the studio's prominence declined, with its branches closing within a few years. By 1952, the main studio in Dublin was sold, and thousands of original glass negatives, including 200 from the Devonshire House ball, were reportedly lost or destroyed.

Remarkably, in 1986, the glass negatives from the Devonshire House ball were discovered in a dusty cardboard box behind a screen in a storage loft at Pinewood Studios in London. These negatives were among thousands of Lauder’s works depicting historical events, social occasions, and prominent figures, including Queen Victoria. Their rediscovery was a momentous event for historians, academics, and art institutions worldwide, shedding light on Lauder's groundbreaking contributions to early portrait photography.

Lauder’s work, preserved in institutions like the National Portrait Gallery in London, exemplifies the artistry and technical mastery of his era. His portraits provide valuable lessons in understanding light sources, composition, and the interplay between subject and background. Lauder’s innovative use of hand-painted backdrops and single, soft lighting techniques gave his photographs depth and realism, distinguishing them as a pivotal moment in the history of studio photography.

This body of work remains a testament to Lauder’s ingenuity, showcasing the transformation of portrait photography into an art form that rivaled painted portraits, which had dominated for centuries. His legacy as a pioneer of European studio photography endures, celebrated for elevating the genre to unparalleled artistic heights.

His Photos at "Devonshire House" Disappeared for 71 Years Before Their Discovery… Personality and Space in the Portraits of Irish Photographer James Lauder

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer / Budapest

Translated by ChatGPT

Photographic historian Dr Rose Teanby FRPS, discusses the binding and photographic significance of the Linnean Society's three precious Anna Atkins Cyanotype volumes. The blog post also coincides with the Linnean Society's three Atkins volumes being on display at their home in Burlington House, London.

The exhibition Still Life ranges from carved woodblocks of the early modern period to the new technique of X-Rays in the twentieth century, the exhibition Still Life reveals how different methods of representing nature have furthered our understanding and knowledge of the natural world.

The exhibition showcases manuscripts, rare books, specimens, and rare books from our collections that indicate the many techniques that have been used to depict nature in the last five centuries: woodcuts, engravings, drawings, paintings, nature printing, dried specimens, photographs, X-rays, and finally digital art.

Read the blog post here: https://www.linnean.org/news/2024/12/05/a-secret-treasure-anna-atkinss-photographs-of-british-algae

Still Life
London, Linnean Society, Burlington House, Piccadilly
Tuesdays to Fridays, 10.00–17.00 until Friday 28 February 2025
See exhibition details here: https://www.linnean.org/research-collections/on-display/still-life-depicting-nature-from-woodcuts-to-x-rayshttps://www.linnean.org/research-collections/on-display

Thanks to Rose Teanby for flagging these. 

Images: (top) Part of the display of three volumes of Anna Atkin's cyanotypes. (left, foreground)  one print from Mrs Glaisher's British Ferns c.1855. 

The National Archives (TNA) holds a collection over 400,000 individual forms deposited to the Stationers’ Company between 1842 and 1912 to register ownership and copyright of photographs, paintings and drawings.

The forms include a description of the work being registered, along with the name and place of abode of the copyright owner (or proprietor of copyright) and the name and place of abode of the copyright author (the artist or photographer). The forms were then dated and signed by the owner and in many cases a copy of the work (in the form or a print or sketch) was attached to the form.

The entire photography collection has been catalogued at item level and we have access to the full metadata. This however is only semi-structured and it requires complex data manipulation to be effectively used for digital research, let alone visualisations.

As part of an internal project running from October 2024 to February 2025, we have decided to use this metadata to organise a hybrid digital hackathon to test data cleaning and processing methodologies, to experiment with visualizations and interesting forms of storytelling related to the world of early photography, as well as to find out the benefits and constraints of running a hybrid collaborative hackathon.

By experimenting collaboratively with tools such as AI, network analysis, entity disambiguation, and visualization we want to bring new perspectives to exploring archival collections through metadata.

During the hackathon we will encourage collaboration between teams, each working on different parts of the problem but sharing data, tools and ideas. To read more about the metadata collection and what we plan to do during the events, visit: https://blog.nationalarchives.gov.uk/exploring-early-photography-through-collaborative-digital-experimentation/

The hackathon will take place over two days, on 27-28 January 2025 both onsite and online.

Exploring early photography through collaborative digital experimentation
London, The National Archives and and online
27-28 January 2025
Details: https://www.eventbrite.co.uk/e/collaborative-digital-experimentation-copyright-and-early-photography-tickets-1105454266469

John Thomson is one of the great figures in the history of photography, an extraordinary photographer, traveller, author, translator and teacher. Between 1868 and 1872 he spent four years in China and it is his photography from that period that is the subject of this illustrated talk. He travelled from Macao in the South to the Great Wall of China in the North. Recording the North River, the Min and the Yangtze and the people who lived and worked on them.

Thanks to the work of photographic conservators at the Wellcome Collection it is possible to revisit Thomson’s original negatives and see the China recorded through Thomson’s lens accompanied by his words, taken from his three books on China.

Deborah Ireland is a freelance curator and author specialising in the history of photography with an interest in travel photography. Her previous posts include assistant curator at the Royal Photographic Society and director of photography at AA publishing. She has curated exhibitions and written for the Royal Geographical Society, including Isabella Bird, a photographic journal of travels through China 1894 – 1896. A fellow of the Royal Geographic Society, she has been a judge on Travel Photographer of the year since its inception in 2003. Deborah Ireland is leading a tour in October 2025, following in John Thomson’s footsteps from Guangzhou (Canton) to Beijing (Peking).

John Thomson - through China with a camera
6 January 2025
Bath, and online
Book here: https://www.brlsi.org/whatson/john-thomson-through-china-with-a-camera/

Impressions Gallery, Open Eye Gallery and Side Gallery are looking for a Network Coordinator to work to establish a new pilot network across the North for photographers and organisations that are working with photography.

Specifically, the Photo Connect network aims to support those interested in amplifying or expanding photography provision across the North. It is open to anyone wishing to collaborate – individuals, community groups, organisations and educational institutions – and will provide mechanisms to:

• Share information about photography exhibitions, workshops, and events, across the North.
• Manage Photo Connect communications, e.g. Instagram account.
• Share information from photography courses in the north.
• Share photography related news and opportunities.
• Support bespoke carbon literacy training for photographers.
• Provide at least one Photo Connect networking event in each of the 3 north areas North West, Yorkshire and North East.
• Champion the benefits of collaborating to increase reach and impact.
• Better understand the current photography ecology and demand for increased provision.

We know that photography is under-funded in the north, with just two organisations receiving core support from Arts Council England – Impressions Gallery and Open Eye Gallery – which is at odds with the public’s engagement and interest in photography. The Network Coordinator role is critical to establishing the Photo Connect network and driving forward this ambitious 12 month year-long pilot. The Network Coordinator will provide managerial capacity to identify the photography ecology across the North, connect with potential collaborators, and play a key part in planning and delivering the aims and objectives of Photo Connect.

The deadline for expressing interest is 12pm noon on 31 December 2024.

See: https://www.impressions-gallery.com/opportunity/photo-connect-network-coordinator/

Photo Connect is made possible by Arts Council England project funding

The British Library has published a guest blog titled Revisiting Early Photography: Ethics, Legal Constructs, and the Seligmans’ Legacy. It is written by Shalini Amerasinghe Ganendra, Adjunct Professor at UNIMAS, Institute of Borneo Studies, Malaysia, and Associate Academic, History of Art, University of Oxford. It is an abbreviated form of a presentation at workshop held at the National Portrait Gallery, London, The British Empire in the Art Gallery: Practises, Discourses and Publics, 27 September, 2024. 

The use of photography in anthropology has a complex history, particularly when it comes to representing indigenous communities through early ethnographic research. When viewing collections such as the early 20th-century images of Sri Lanka’s Vedda community captured by Charles and Brenda Seligman, it is crucial to evaluate them not just for their historical significance but also through the ethical and legal frameworks that apply today...

Read the blog here: https://blogs.bl.uk/asian-and-african/2024/11/revisiting-early-photography-ethics-legal-constructs-and-the-seligmans-legacy.html

Image: ‘The Vedda country, view from Bendiyagalge rocks’. Photograph from C.G. and B.Z. Seligmann, The Veddas (1911). British Library, T 11173, facing title page.

Debates on forced migration often assume that one is either a refugee or a citizen. To put it more starkly, refugees supposedly want nothing more than to relinquish their refugeeness and become instead, citizen. Accordingly, photographic representations of the journey of transformation and self-reinvention, in emphasizing a trajectory from refugee to citizen, take for granted the power of the nation-state in defining citizenship. However,  migrant justice activists, Indigenous activist-scholars, and theorists whose protest against and refusal of 'border imperialism' are dislodging the concept of citizenship from the exclusive purview of the nation-state. More than a status dispensed by the state, citizenship is enacted.

This presentation considers the visual forms that such an action might take, especially in creating the possibility of 'refugee citizenship,' a concept that critic Donald C. Goellnicht invokes to denote alternative forms of citizenship that challenge nation-state frameworks. Through a focus on diverse forms of portraiture, I consider the ways that photographic practices constitute acts of refugee citizenship. 

Photographic Acts of Refugee Citizenship with Thy Phu
Friday, 6 December 2024, 1:00 PM  2:00 PM (EST); 1800-1900 (UTC)
See: https://www.byforcollective.com/events/thy-phu

Dave Shrimpton is a wet plate collodion photographer who uses vintage cameras to produce his art. He cites the work of Julia Margaret Cameron as his inspiration and says that upon viewing his first Cameron exhibition his “world changed for ever”.

This exhibition is entitled Searching for Alice and uses the image of Alice Liddell, photographed by and friend of Julia Margaret Cameron, as its point of departure. Being drawn into the world of Mrs Cameron through his own Muse, Catarina Correia, Dave’s work seeks to explore the results of the often unpredictable and unique wet collodion process.

He is thrilled to be displaying such a large body of his work in one place with many images not previously seen by a public audience. Dave will further follow in the creative footsteps of Mrs Cameron by photographing the current museum staff. The sitters for many of her iconic photographs were actually servants within the household staff at Dimbola. These priceless wet plates taken by Dave will form a further element to this already exciting and dynamic exhibition.

Dave Shrimpton: Searching for Alice
until 1 January 2025
Dimbola, Freshwater, Isle of Wight
See: https://dimbola.co.uk/event/dave-shrimpton-searching-for-alice/

The National Science and Media Museum will partly reopen to visitors on 8 January 2025 with a public programme and newly renovated foyer space, as well as returning favourites such as interactive gallery Wonderlab and the Kodak photography gallery, alongside Yorkshire’s biggest independent cinema. The new Sound and Vision galleries will open in summer 2025.

Ahead of the full reopening, the museum’s IMAX screen will welcome audiences back from 20 December 2024, with screenings of Mufasa: The Lion King across the festive period. 
The museum temporarily closed in June last year to undergo a once-in-a-generation transformation with huge changes through a £6 million capital project called ‘Sound and Vision’, supported by The National Lottery Heritage Fund. Thanks to National Lottery players, the museum will have two new permanent galleries, a new passenger lift and improvements to the main entrance.

The museum will celebrate its reopening weekend with a special partnership with Aardman, featuring film screenings, model making workshops and more. The museum’s team of Explainers will also be delivering free family-friendly activities with live science shows and object handling. 

Visitors will be welcomed back into the museum’s brand-new foyer space, which has been updated to provide a more flexible and welcoming space for visitors and local communities to enjoy. The new foyer includes soft seating, a redesigned shop and the popular Media Café, as well as the installation of an additional passenger lift, allowing more visitors to move around the building with ease.

The museum will also open a new temporary exhibition, David Hockney: Pieced Together, on 15 January. The exhibition showcases Hockney’s video installation capturing Woldgate Woods in the Yorkshire countryside through the four seasons, with each screen showing a different perspective of the country lane. The exhibition also explores the artistic and technical parallels of Hockney’s early ‘joiner’ photocollages, two of which are part of the museum’s collection. One of the joiners on display shows the museum in its early days as the National Museum of Photography, Film and Television in 1985. 

Commenting the museum’s reopening, Jo Quinton-Tulloch, Director of the National Science and Media Museum said: “We are delighted to be reopening the museum on 8 January and can’t wait to welcome visitors back into the building. With newly transformed spaces, improved accessibility and exciting additions to our public programme, it marks the beginning of an extraordinary journey for both the museum and our community. As the year unfolds, we will unveil more exciting improvements to the museum, culminating in the summer with the launch of our spectacular Sound and Vision galleries. We couldn’t be more thrilled to be reopening the museum with the backdrop of an amazing Bradford 2025 programme, making this a once-in-a-lifetime moment.”

Helen Featherstone, Director, England, North at The National Lottery Heritage Fund added: “It is incredibly exciting that audiences will be welcomed back into the National Science and Media Museum in January as their doors reopen. In 1995, the museum was one of the first transformational projects in Yorkshire that received funding from the Heritage Fund, and after 30 years we have supported the museum again with the new Sound and Vision Galleries. Showcasing key objects and stories from the museums world-class collection, the new galleries are due to open later in the year, ensuring that the museum will be a star attraction of Bradford City of Culture 2025.”

The early 2025 programme will also see the return of the museum’s annual Yorkshire Games Festival, taking place from 10–23 February, including half-term activities for all the family. The festival’s industry-led Game Talks will also take place across 12 and 13 February, featuring a unique programme of talks and workshops from talented videogame developers.

As part of the museum’s regeneration project, vintage arcade Games Lounge has been relocated and transformed into Power Up. Opening in March, Power Up is still the hands-on gaming experience that has grown to be a visitor favourite, but it provides a refreshed offer designed to engage visitors of all ages. It will include a BAFTA Young Game Designers section, where visitors are invited to play previous winners’ titles and learn about the next generation of game design, as well as an opportunity to discover more about the history of the arcade.

As part of the museum’s 2025 public programme, a new interactive and immersive installation by experiential artist collective Marshmallow Laser Feast in partnership with Bradford 2025 will open in April 2025. The installation will take visitors on a multimedia ride through time and space, exploring who we are and what makes us human. With Bradford running through its DNA, the experience has been inspired by Born in Bradford, a major research programme that has been tracking the lives of more than 40,000 people across the district since 2007.

The museum’s new Sound and Vision galleries will open in summer 2025, featuring permanent displays of the museum’s world-class collections of photography, film, television, gaming and sound technologies. The new galleries will take visitors on a journey through the explosion of media technologies, and their impact on our lives. The Sound and Vision Project is a £6m capital investment, and in addition to funding received from The National Lottery Heritage Fund, the project also has support from the DCMS/Wolfson Museums and Galleries Improvement Fund, Bradford Council and the Science Museum Group, which the National Science and Media Museum is a part of.