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The Trustees are seeking to appoint a new Chief Executive to lead the Royal Photographic Society (RPS). This prestigious Society, established in 1853, exists to educate members of the public by increasing their knowledge, understanding and appreciation of photography and in doing so to promote the highest standards of accomplishment in this art form.

This is an exciting opportunity to join the RPS and to help take the organisation forward to the next stage of its strategic development. Together with a supportive Board and an ambitious staff team, you will help the Society to become an ever more efficient and impactful organisation for its beneficiaries. 

We are seeking an inspirational senior leader who will share the vision and principles of the Society. You will provide robust leadership to the RPS and support its ambitions for growth, development, collaboration and innovation.
You will have demonstrable senior management experience and a clear track record of driving organisations forward from existing positions of strength. Significant experience of transformational leadership and change management from within the visual arts, photography or charitable sectors would be advantageous.

Details here: https://jobs.theguardian.com/job/6955654/chief-executive/

I must firstly apologise that this is not a British photographic enquiry, but I would be very grateful to know whether any members might have ready access either to hard copies or to an online resource of French local trade directories - les annuaires commerciaux.  The localities concerned are specifically Le Touquet and Nice, covering the period between 1920 and 1940.  During this time a firm of street photographers - Philo-Ciné - took pictures of passers by, including holidaying British tourists, probably using the André Debrie Sept cine camera, and normally four frames in a cine sequence were printed out onto a strip of card measuring 24 by 9 cm., the reverse surface being printed as two postcards that could be separated by cutting apart with scissors. 

   They worked from a number of addresses - 1 Rue Halévy, later 23 Promenade des Anglais in NIce in the winter, and 76 later 81 Rue St. Jean in Le Touquet during the summer.  They advertised both in the Paris Soir and Paris Midi between 1934  and 1938 in the "offres d'emplois" columns, looking for amateur photographers, male or female, during the Depression years.  My suspicion is that they were also active during the latter 1920s, but I have yet to confirm this.  Their activities may well have ceased on the outbreak of war.  If any members have any information I would be most grateful to hear from them, or if they can suggest an online resource where I could check.

This is my third recent post that concerns Roger Fenton and his Crimean War connections. In the first, I showed images of his first photographic van that I discovered on landscapes that he took of the British cavalry camp near Kadikoi in the Crimea in 1855. In the second, I suggested that Fenton’s second photographic van was the one photographed at a Photographic Society outing to Hampton Court in 1856. In this post, I argue that Fenton most likely posed mischievously in one of his own group portraits taken in the Crimea in 1855.

The portrait of Roger Fenton on the right was taken by Hugh Welch Diamond in 1856. He wears a French military kepi that is likely to be the same one as he wore at the Photographic Society outing to Hampton Court the same year. It was probably one of his prized possessions from his time in the Crimea. I noticed the same style of kepi (with an almost invisible peak) on the man standing third from the right in an image entitled General Cissé, with Officers and Soldiers in General Bosquet’s Division (see below). The man in question looks remarkably like Fenton. So much so that I strongly believe that it is Fenton. His jacket and the shade of the trousers are also very similar to those that Fenton wore one year later at Hampton Court.

In a letter to his wife dated 6 May 1855, Fenton wrote:

After breakfast yesterday I went there ie to Bosquets & I soon got all the staff round me wanting a trial of my skill. I made a group with Gen^l Cissey (sic) the chief of the staff in the centre.

‘I made a group…….’ is ambiguous in that it could mean that he was one of the group! Did Marcus Sparling, who was Fenton’s chief assistant and photographic van driver in the Crimea, in fact take this photograph?

General Cissé, with Officers and Soldiers in General Bosquet’s Division was shown in Fenton’s Crimean War exhibition held in London in 1855 as photograph No. 128. I wonder if anyone viewing his works at the time though that they recognised Fenton in the image?

Further to my last post to the blog, I would like to add that Roger Fenton sold the photographic van he took with him to the Crimea in 1855 for £35 just before he left Balaklava to return home. However, he commissioned another when he got back to England and in the summer of 1856 set off with it to photograph landscapes in Scotland.

This new van was most likely the one that appears on an image that was taken at a Photographic Society outing to Hampton Court in 1856 (see right). While most members of the Society in the image are conventionally dressed in formal attire including top hats, Fenton on the far left wears a shabby jacket, a kepi and trousers with a stripe down the seam.

Tim Pickles, who is an expert on Crimean War uniforms, advises me that:

The kepi appears to be a standard French infantry type with a red top, a blue base and gold braid indicating a junior officer. His trousers also seem to be those of a French junior officer. They were deep red verging on crimson with a single wide black stripe. His jacket does not appear to be military, but I suspect it is the one he wore in the Crimea.

Therefore, it is likely that Fenton acquired these items during his visit to the Crimea the previous year. He probably did not wear his best clothes to the outing because he was driving his van and he also wanted to emphasis his Crimean War connections to the gathering.

The full image is below. It also found on the Royal Photographic Society's website at http://rps.org/about/history/history-of-the-rps. 

I am organising a Vintage Photograph Fair, to be held at the Bristol headquarters of the Royal Photographic Society. It will showcase a wide range of fine vintage photographs for sale, from leading photograph dealers in the UK and Europe.

Bristol Vintage Photograph Fair is a new event; offering for the first time in the West of England, an opportunity for collectors of early photography to meet the leading specialist vintage photograph dealers from the UK & Europe, and browse through an exceptional display of rare original photographs, documenting the first 150 years of Photography, from 1840 to 1990.

A wide ranging selection of fine prints, from Britain, Europe, Asia, the Americas, and around the world: Portraiture, Social documentary, Military & Naval campaigns, Architectural studies, Travel, Topography & Landscape, Natural History and wildlife, and much more!

Full details are now on the dedicated website: www.bristolphotofair.uk

Bristol Vintage Photograph Fair. 

Sunday December 1st 2019. 10am to 4pm.

Many of us will be familiar with Roger Fenton’s much reproduced photograph of his photographic van, which features Marcus Sparling, his chief assistant the Crimea, sitting on the box seat (see right). The left side of the van also appears in Fenton’s group portrait of cavalry personnel in the image entitled Cooking House, 8^th Hussars. Recently, the van has been discovered in another three of his images, which like Cooking House, 8^th Hussars, were taken in the spring of 1855 in the cavalry camp located in a valley just to the west of the settlement of Kadikoi about a mile north of the British supply port of Balaklava.

Fenton's van can be identified from the positions of its windows, the words ‘Photographic Van’ painted on its sides and from the shape of what seems likely to have been a bent awning-frame over the roof at its front (see right). During a detailed study of Fenton’s Crimean photographs, the van was found in those entitled Military Camp, Camp of the 5^th Dragoon Guards, looking towards Kadikoi and Camp of the 5^th Dragoon Guards. The two latter images were taken at the same time and form an overlapping panorama with the van appearing just to the right of centre in Camp of the 5^th Dragoon Guards, looking towards Kadikoi and on the left in Camp of the 5^th Dragoon Guards. Both images were shown next to each other as Nos 62 and 63 in Fenton’s Crimean War exhibition in London in 1855. An error has been noticed in the title of Camp of the 5^th Dragoon Guards, looking towards Kadikoi. The view actually looks west up the valley and not east down the valley in the direction of Kadikoi. Military Camp was not exhibited in London most likely because a section of the plate left of centre was spoilt.

Magnifications of the parts of Military Camp and Camp of the 5^th Dragoon Guards, looking towards Kadikoi which show the van are reproduced below (see right and lower right respectively).

The location of the van in Military Camp is on the grass divide that separated the camps of regiments of the Light Brigade  from those of most regiments of the Heavy Brigade of Cavalry. The line of three tents belonging to the Light Brigade seen closer to the camera to the left of the van appears in the background of many of Fenton's portraits taken in the cavalry camp. Images made in the vicinity of the van at this location are entitled Brigadier-General Lord George Paget; Lieutenant-General The Honourable Sir James Yorke Scarlett, K.C.B; Cornet Wilkin, 11^th Hussars; Lieutenant King, 4^th Light Dragoons; Captain Portal, 4^th Light Dragoons, equipped for Balaklava; The Pocket Pistol; Chasseurs d’Afrique Officer and Major Morris, C.B., Royal Artillery.

In the Camp of the 5^th Dragoon Guards, looking towards Kadikoi and Camp of the 5th Dragoons, the van is partly obscured. Only the front of the van can be seen protruding from behind a dark coloured hut. In the area between the van and the camera, Fenton is believed to have taken his portraits entitled Major Burton, 5^th Dragoon Guards and Captain Bernand, 5^th Dragoon Guards. Another mistake in an image title was made here as the latter’s name was actual spelt ‘Burnand’.

The 5th Dragoon Guards were in the Heavy Brigade. The huts and tents in the background (see right), which lie across the grass divide that separated the camps of the Heavy and the Light Brigade, belong to the 8^th Hussars. The stretch of grass in view is lower down than the same slope seen behind the van in Military Camp. Fenton took portraits entitled Colonel Clarke, Scots’ Greys, with the Horse wounded at Balaklava; Mr Angel, Postmaster; Captain Seymour, 68^th Light Infantry; Captain Inglis, 5^th Dragoon Guards; Colonel Shewell, Light Cavalry; Colonel Doherty and the Officers of the 13^th Light Dragoons and others a little further up this slope to the left.

More information on Fenton's van can be found in an article entitled ‘Roger Fenton’s Photographic Van’ in The War Correspondent 36 (3), pp. 24-30 (March 2019).

The V&A is advertising for an Assistant Curator, Photographs, to replace Catherine Troiano who has moved to a curatorial role at the National Trust. Applications are required by 9 September 2019. 

The V&A is the world's leading museum of art, design and performance. We enrich people's lives by promoting the practice of art and design and increasing knowledge, understanding and enjoyment of the designed world.

We are currently recruiting for the post of Assistant Curator in the Photographs Section of the Word & Image Department (WID). The post holder will care for and provide physical and intellectual access to the permanent collections.

The successful candidate will be educated up to at least degree level with substantive experience of work or volunteering within a museum or other relevant cultural organisation. Excellent grammatical English, computer skills and a knowledge of the history of photography are essential.

Please note that the V&A is unable to sponsor visa applications.

See more here.

Closing date for applications: Monday 9 September 2019 at 5pm.

Interviews will be held on Tuesday 24 September 2019. 

This Paul Cordes (1893-1979) photo and more info on the photographer has been sent to me from the Smith College Museum of Art, Northampton, MA who are also looking for any info ....read the new details and continued research on our Press Photo History project

Photo: Gene Loring from Ballet Caravan, ca. 1936 ©Paul Cordes/Smith College Museum of Art

PAN reader Michael-John Jennings the Picture Librarian at News UK is supplying a monthly from the photo archive to The Times newspaper online and tablet editions. MJ told PAN "The aim being to promote our superb archive but also provide some unique content which directly relates to the current news agenda. The readers comments have mostly been very encouraging, good engagement." 

Read more here:  https://photoarchivenews.com/news/news-uk-photo-archive-lands-regular-feature-in-the-times/

The Netherlands has until now lacked a meeting point for vintage photography. Inspired by the famous Frido Troost (1960-2013), whose Institute of Concrete Matter, offered a space where collectors, curators and photographers could meet and have extraordinary encounters and dialogues on photography, two curators and three collectors have joined forces and initiated Dialogue.

Dialogue is organized by the Dialogue Foundation, a not-for-profit organization aiming to further the interest in vintage photography and photobooks in the broadest sense of the word. At the time of writing some 33 exhibitors of vintage and contemporary photography from the Netherlands, Belgium, Germany and the United Kingdom are signed up and they will show some 15,000 photographs in 1700m2 of space. Over 1000 visitors are expected on the day.

The photograph fair is supported by a public programme of talks, workshops and exhibitions.

Find our more here: https://www.dialoguevintagephotography.com/ or email: info@dialoguevintagephotography.com

There is still space for exhibitors. 

Dialogue takes place on 21 September 2019 at CEC Amsterdam, Bijlmerdreef 1289 Amsterdam, Netherlands. Admission is by free ticket. 

UCLA Film & Television Archive, the second-largest archive in the U.S. after the Library of Congress, and the Baker Street Irregulars (BSI), the foremost Sherlock Holmes society in the U.S., are mounting a world-wide search for lost Sherlock Holmes films. Famed actor Robert Downey, Jr., who has portrayed Sherlock Holmes on screen in two films, with a third Holmes film in pre-production, is the Honorary Project Chair.

Entitled Searching for Sherlock: The Game’s Afoot, the two nonprofit organizations plan to contact film archives, Sherlock Holmes societies, film historians, collectors, and other potential sources around the world to find, restore, and eventually screen, films featuring the world’s first consulting detective.

According to Dr. Jan-Christopher Horak, Director of the UCLA Archive, more than 100 films about the iconic British detective are lost or are in need of restoration or preservation. A blue ribbon committee has been formed to lead the search. Also participating are such notables as Nicholas Meyer, author of the book and Oscar-nominated screenplay of The Seven-Per-Cent Solution and a leading silent film historian, Kevin Brownlow.

Arthur Conan Doyle’s Sherlock Holmes is one of the most popular characters in all literature. The Victorian detective has made the leap countless times from the printed page to the motion picture and television screens. Beginning with his first appearance in “A Study in Scarlet” in Beeton’s Christmas Annual in 1887, Holmes has inspired aficionados internationally and is the most-filmed character in the world.

More than 200 films about the British detective have been produced; the first was “Sherlock Holmes Baffled,” a 30-second motion picture released originally for arcade Mutoscope machines in 1900 and copyrighted in 1903.

Among the lost films are: a British production of A Study in Scarlet, produced in 1914; a Danish series, produced by Nordisk films, beginning in 1908; The Missing Rembrandt, produced in 1932, starring Arthur Wontner; and many more.

Spearheading the search is Archive Board and BSI member Barbara Roisman Cooper. For further information about the project or suggestions regarding the search please contact her at peninc1@aol.com.

The Madeira Museum of Photography - Atelier Vicente's - the only museum in Portugal entirely dedicated to photography, reopened on 29 July, after a five years and 1.7 million euros of work.

“We are talking about a nineteenth-century photography studio, the oldest in the country, which has gone through four generations of the same family. We are talking about a heritage that says a lot to the Madeirans, was part of the daily life and experience of Madeira” said Paula Cabaco, the Secretary of Tourism and Culture.

Vicente's Atelier, now renamed the Madeira Museum of Photography, was founded in 1863 by Vicente Gomes da Silva and remained operational until 1978, when the building, in the centre of Funchal, and the estate, with more than 1.5 million negatives were acquired by the Regional Government of Madeira.

In 1866, three years after the opening of the house, Vicente Gomes da Silva received the title of photographer of the Empress of Austria, Isabel of Bavaria, the mythical Sissi, and in 1903, the photographer of the Portuguese Royal House, which also contributed more for its importance, making its studio one of the best equipped of the nineteenth century 

The space was opened to the public in 1982 as a museum and in 2014 it closed for works, with the executive investing 1.2 million euros in the rehabilitation of the building and 500 thousand euros, with a community contribution of 85%, in the restoration and safeguarding of the collection.

The space reopens with a temporary exhibition, until October, entitled Treasures of Portuguese Photography from the 19th century , while maintaining a permanent exhibition representing the various authors included in the collection, which is part of the collection of practically every large house. Madeirans of photography of the nineteenth and twentieth centuries.

The Secretary of Tourism and Culture highlighted the investment made in the “faithful reconstruction” of the studio, namely in terms of furniture, props, laboratory material and cameras, indicating that visitors will even be able to be photographed with scenes of the time. Paula Cabaço explained that the studio's reconstitution also includes a presentation of the history of photographic processes, from the daguerreotype to the first colour photographs, through the magic lantern devices and stereoscopy (immersive format then very fashionable in the 19th century, which gives the feeling within the image even though it was too far from the current 3D effect).

See more here: https://www.madeiraislandnews.com/2019/07/vicentes-museum-reopens-in-funchal-after-investment-of-1-7-million.html

In a Facebook post the chemist and photographic historian Dr Mike Ware confirmed that he had donated his library to the John Rylands library, Manchester. Ware has applied his background as a chemist and scientist to photographic history, particularly on a series of projects at the then National Media Museum and most recently on the platinum process. The library will be cataloguing the books after which they will be made available. 

Ware's biography reads as below:

Dr MIKE WARE graduated in chemistry at the University of Oxford (1962), where he subsequently obtained his doctorate in molecular spectroscopic research (1965). He has followed a career in academic science, lecturing and researching in structural and inorganic chemistry at the University of Manchester (1964-92); becoming a Chartered Chemist and a Fellow of the Royal Society of Chemistry (1982).

He is now independently committed to studying the science, history, conservation, and art of alternative photographic processes. A Kodak Photographic Bursary (1984) initially supported his research on printing in noble metals, which was recognised by the award of the Hood Medal of the Royal Photographic Society (1990), of which he was a Fellow, and by the Richard Farrand Memorial Award of the British Institute of Professional Photographers (1991).

Dr Ware has acted as a consultant to the National Media Museum, Bradford, England, and has supervised postgraduate research in photograph conservation at the Victoria & Albert Museum and the Royal College of Art, and in alternative photographic processes at the University of Derby. He was the first External Examiner for the new M.A. course in Photographic Studies at De Montfort University. He has acted as a scientific advisor to the National Gallery of Art in Washington DC, and in 2016 he was awarded the Special Recognition of Allied Professionals by the American Institute for Conservation of Historic and Artistic Works.

The results of his technical research on improving historic processes, such as the platinotype, palladiotype, cyanotype and chrysotype, have been published in both the scientific and popular literature, and he is the inventor of the new argyrotype process (1991). Several historical studies he has made of early photography have appeared in the academic periodical, History of Photography. The conservation of the first photographs on paper, photogenic drawings by Henry Talbot, is the subject of his book Mechanisms of Image Deterioration in Early Photographs (1994), and the Cyanotype process invented by Sir John Herschel is dealt with in his book Cyanotype: the History, Science and Art of photographic printing in Prussian Blue (1999) – both published by the Science Museum, London. His latest monographs are Gold in Photography and The Chrysotype Manual (2006).  By way of a counterbalance to scholarly activity, he is also an exhibiting photographer, and since 1981 has shown his personal work widely in galleries in Europe, the USA and Australia; examples have been acquired for several national collections.

He has conducted specialist workshops and masterclasses in alternative printing techniques throughout the world, and has appeared on BBC Televison in the Open University series ‘The Chemistry of Creativity’ (1995). Regarding photography as an ideal meeting ground for science and art, his ambition is to bridge the gap between the Two Cultures by harnessing chemical science to enhance the art of photographic expression.

Thirlestane Castle will showcase a new photography exhibition featuring works by Frederick Maitland, the 14th Earl of Lauderdale (18658-1931), curated by Sam Cornwell. The exhibition will be displayed in a new event space, the 'Vaulted Cellars' at Thirlestane Castle, Lauder, Scotland.

The exhibition will showcase some of the early printing techniques used by this prolific photographer at the turn of the last century as well as pre-Photoshop examples of edited images. The Earl was a member of the Royal Photographic Society who exhibited widely and wrote extensively about photography. The Castle holds a large collection of his work. 

As well as never before seen images there will also be a selection of his more vernacular work to give audiences a taster of the Earl’s broad range of photographic skills.

The exhibition will be open from 10am daily and is included in the normal admission to the castle.

See more here: http://www.thirlestanecastle.co.uk/events/events-calendar/theoretical-sharpness-photographic-exhibition

Previous post-photographic discourses have primarily focused on the transformations of photographic images. In the framework of our research on post-photographic practices, we invite academics and practitioners to adopt a different approach here and assume that photography is not primarily a technique to produce images, but rather an entanglement with a specific kind of apparatus. Against the background of growing complexity of media practices, our question is: has the very apparatus as much as our conception of it changed?

The workshop wants to address this question from three perspectives: technologically, the digitization of cameras has turned them into computers with attached sensors, and former functions of the hardware are increasingly simulated by software. The construction of a camera nowadays requires less domain knowledge, which has enabled companies from different fields to introduce new camera models and disrupt a previously relatively stable ecosystem. At the same time, many artists have questioned the tool of their photographic practices by turning self-created cameras into artworks in their own rights. Artists like Trevor Paglen (“seeing machines”), Hito Steyerl (“proxy politics”), Aïm Deüelle Lüski (“threshold as place”) and David Claerbout (“dark optics”) have also been driving forces in the discussion of post-photographic cameras.

Finally, a theoretical critique of modernism (of which traditional photography has been an integral part), along with posthumanistic understandings of agency and technology (Karen Barad, Donna Haraway, Bruno Latour), have helped to blur what used to be the separate concepts of the camera, photographer and image. Hence, cameras can no longer be understood as black boxes/cameras obscuras. We need to re-assess them as nodes in larger media ecological networks.

We welcome papers by researchers and artists on topics including, but not limited to:

• Artistic practices involving camera constructions, modifications or dissolutions
• New camera concepts and photographic practices in everyday life
• Media archaeologies of the camera
• The photographer’s body as a counterpart to the camera
• The camera in posthuman photography
• Theoretical approaches to the changing concepts of medium and authorship

The workshop is organized by the SNF research group Post-photography at the Lucerne University of Applied Sciences and Arts. The conference language is English. Paper proposals (abstract of up to 300 words and CV) for 20-minute talks should be sent to birk.weiberg@hslu.chby 31 Aug 2019. Accommodation and travel allowance will be provided.

For any inquiries, please contact: Birk Weiberg, birk.weiberg@hslu.ch or WolfgangBrückle, wolfgang.brueckle@hslu.ch 

For the SNSF Post-photography research group, see https://blog.hslu.ch/postphotography 

A one day symposium on the topic of science and photography. It will look at how photographs are used in scientific research; how and why we have photographed the human body; what scientific innovations advanced the photographic medium in the early development of photography; and how historic processes are being applied to science and contemporary research.

The symposium is presented in conjunction with the 2019 St Andrews Photography Festival which runs throughout October.

See the full programme here SandP%20Symposium%20Programme%2023-10-19.pdf and book a place by 16 October here: https://onlineshop.st-andrews.ac.uk/conferences-and-events/conferences/special-collections/science-photography-symposium

A Press Photo History reader is wanting to get a print of the above image which includes Shenley Park House in the background shot in 1936. In fact any shot with the house around that date will be of interest …

We traced images shot.... Read on here

Photographer Tony Prime who worked for various Fleet Street titles including The Sun newspaper from 1969 to 1981 has died. Read on here

Photo: May 1973. Paul and Linda McCartney at Twickenham Studios shooting a Film for the group Wings © NewsSyndication

At a ceremony today an English Heritage blue plaque to the photographer Camille Silvy (1834-1910) and the painter John Linnell (1792-1882) was unveiled on the outside of 38 Porchester Terrace, Bayswater, London W2. The building was Silvy's former studio.

The unveiling brought together photographic historians and curators from many of the major British photography collections to hear Mark Haworth-Booth (shown bottom, left), the former V&A Museum curator of photography and author of Camille Silvy: Photographer of Modern Life 1834–1910 and Camille Silvy River Scene, France and Paul Frecker (shown bottom, right), the dealer and collector, talk about SIlvy and his studio. The blue plaque was unveiled by Dr Tristram Hunt, Director of the V&A (shown right). 

Camille-Léon-Louis Silvy (born Nogent-le-Rotrou, France, 1834; died Saint-Maurice, France, 1910) was a French photographer, primarily active in London.

He learned photography from his friend, Count Olympe Aguado, in 1857,^[1] and became a member of the Société française de photographie in 1858. He then moved to London and opened a portrait studio at 38 Porchester Terrace, Bayswater, becoming a member of the Photographic Society in 1859. Sitters in Silvy's portraits include Princess Mary Adelaide of Cambridge, Queen Emma of Hawaii, Lady Amberley, Harriet Martineau, Adelina Patti, Sara Forbes Bonetta and Frederick Robson. He also photographed many members of the British royal family. The National Portrait Gallery, London, holds his studio's daybooks, which include details of some 17,000 sittings, with about 12,000 of these showing an image from the sitting.

He closed his studio and returned to France in 1868. He himself believed that his nervous system had been damaged by exposure to potassium cyanide in the darkroom but it more likely that he suffered from manic depression. The last thirty years of his life were spent in a succession of hospitals, sanatoria and convalescent homes. Read more at: https://en.wikipedia.org/wiki/Camille_Silvy

This exhibition is dedicated to the collection of photographic works collected by Martin Parr. The photographer, a fervent defender of books, constituted a rich library of more than 12,000 books. Reflecting his particular vision, this colossal collection brings together books of great diversity  collected around the world.

Collaborative project between Les Rencontres, LUMA and Tate Modern, this project highlights 50 works published between 1969 and 2018. The selection reveals a rich panel of artists who have marked photography in many ways. Whether form or content, this selection shows photography in its multi-disciplinarity: humanist photographers, conceptual, photojournalists, but also visual artists and fashion photographers etc.

This panorama of great visual and artistic richness is a tribute to the book as an object a crucial vector of the artistic and socio-political ideals of our time. To dedicate an exhibition to books in 2019 is to claim the importance and the modernity of this medium notwithstanding our time when the virtual is king. Because of its experimental nature and counterpoint to the dissemination of mass images, the book is considered by many photographers to be the most significant vehicle for displaying their work. Essential tool to communicate their vision to the greatest number, the book is still underestimated today in the history of photography.

See more here.

www.rencontres-arles.com

Mécanique Générale

until 22 September 2019