Can anyone help me identify this late 1850's Grenadier Guards albumen print? I am interested in finding out which battalion or regiment, and the location of this 'Guard House'.
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This new book accompanies an exhibition of the same title which opened at the Rijksmuseum, Amsterdam, on 14 February. Researched and written by curator Mattie Boom the book describes and illustrates Dutch amateur photography during a period of rapid growth as photography became easier to work with dry plates and smaller cameras which, in turn, acted as a catalyst for the growth of photographic societies and photography exhibitions. The book will be an important reference for anyone interested in the subject.
Everyone a Photographer is the first comprehensive study of the roots and early development of amateur photography. Very little is known about its origins, and the late nineteenth century can be likened to the dark ages in the history of photography. it is then that people first started to record their daily lives with small handheld cameras, which made photography more direct, faster and more dynamic. This process was boosted by young upper-class urbanites who had a seemingly insatiable desire for the latest technological innovations, accompanied by an eagerness to try them. There are striking similarities between developments in image production in the late nineteenth century and in the present digital era. Then as today, these were driven by rapid innovations in the creative industries. The meteoric rise in the popularity of amateur photography was responsible for the great turning point in photography and had a huge impact on the visual arts and visual culture in general.
Everyone a Photographer describes the rise of amateur photography in the Netherlands: the photographers, the photographs, the albums and the key figures. For the first time, the amateurs and their truly fascinating snapshots, which are of amazing quality and historical importance, are lifted out of anonymity.
Everyone a Photographer. The rise of amateur photography in the Netherlands 1880-1940
Mattie Boom
Rijksmuseum
€39.95
Order: https://www.rijksmuseumshop.nl/en/catalog/product/view/id/1661/s/everyone-a-photographer/
Tokyo Photographic Art Museum, which fills the role of Japan’s main photographic cultural centre, holds an exhibition every spring focusing on early photographs and this year, 2019, it will present The Origin of Photography: Great Britain exhibition.
Research into methods of photography began in the latter part of the 18th century, and with the announcement of the invention of the first photographic technology in 1839, the curtain was raised on photographic culture. In Great Britain, research developed by the members of the Victorian aristocracy was to have a broad influence on culture.
In this exhibition, which includes photographs from several major UK institutions as well as the TOP Museum's own collections, it will present numerous works, many of them for the first time in Japan, to show the varied developments in photographic culture that took place in Great Britain but which remain largely unknown in Japan. In addition, it will also allow visitors a rare view of Great Britain during the 19th century, captured through contemporary photographs. We hope that you will come and see the broad range of Great Britain’s photographic culture and history that served as an inspiration to the Japanese during the latter half of the 19th century.
A series of guest speakers include: Dr Luke Gartlan, Sebastian Dobson, Professor Larry Schaaf and others.
The Origin of Photography: Great Britain
5 March-6 May, 2019
Closed ：Monday (however open on 29 Apr, 6 May)
Admission：Adults ￥900／College Students ￥800／High School and Junior High School Students, Over 65 ￥700
The exhibition is accompanied by a catalogue.
See: http://www.topmuseum.jp/e/contents/exhibition/index-3111.html
Image: Don Juan, Count of MONTIZON, Hippopotamus at the Zoological Gardens, Regent’s Park, London, 1852, from The Ｐhotographic Album for the year 1855; being contributions from the members of the Photographic Club, 1852, Salted paper print, British Library © British Library Board (C.43.i.7)
Impact Photos agency and library which formed in the early 1980s has closed. Impact, as co-founder Philippe Achache put it so succinctly is ‘Pactin’…and is now in hundreds of cardboard boxes in a lock up garage in Queens park NW London awaiting collection by the nearly 400 contributing photographers from over the past 40 years.
The agency started life in the early 1980s as a co-operative of like minded photo-journalists who got together to cover the wedding of Charles and Diana. The founders were Philippe Achache, David Reed, Alain Le Garsmeur, Julian Calder, Sally Fear and Christopher Cormack. Brian Harris joined as a contributor in the mid 1980s after his years with The Times along with many other ‘news’ photographers of the day, including Jeremy Nicholl, Norman Lomax and Christopher Pillitz. Dozens of others contributed on an ad hoc basis, some with just a single story, others with stock and many story ideas
Brian Harris, describes the story and demise of the agency in a blog post here: https://brianharrisphotographer.wordpress.com/
Image: Brian Harris.
FoMu Antwerp is showing an exhibition devoted to the Belgium photobook from 1 March-6 October 2019. Photobooks have been one of the most effective means of expression for photographers since photography began.They remain in circulation, are portable and can be reissued, thus reaching a larger public than an exhibition ever could. To date, hardly any research has been conducted into Belgian photobooks. Photobook Belge aims to fill this gap by providing an overview of the evolution of the Belgian photobook from the mid-19th century to today. This exhibition and publication are finally giving the Belgian Photobook – a concept in itself – the recognition it deserves.
The publication Photobook Belge is published by FOMU in partnership with Hannibal.
Curator: Tamara Berghmans
https://www.fotomuseum.be/en/exhibitions/Photobook_Belge.html
A symposium at FOMU devoted to the same subject takes place on 21 March. Speakers include Tamara Berghmans, Sandrine Colard, Luc Derycke, Geert Goiris, Tine Guns, Steven F. Joseph, Ben Krewinkel and Stefan Vanthuyne. Price: €25, €10 (-26) and free (FRIENDS and Academy). See more here.
Stephen Furniss will talk about Victorian photography in general, but concentrate on the many Victorian photographers who are buried in Highgate Cemetery. Some of these were instrumental in making photography accessible and hugely
popular. Among those included in the talk will be Antoine Claudet, who was a leading expert in the Daguerrotype process and is attributed with inventing the red safelight, the Watkins brothers, who photographed over 1,500 celebrities, James
Perriman, a studio photographer who went to prison for displaying another photographer’s work outside his premises, and Valentine Blanchard, who took instantaneous photographs of London streets from a disguised van...
Stephen Furniss was an antiques dealer, is a longtime supporter of Highgate Cemetery and is an expert on Victorian photography and related subjects. The memorial photograph shown is from his extensive collection.
If you have any Victorian photographs you would like Stephen to look at for identification and dating, do bring them along with you.
'From Today, Painting is Dead’: Victorian Photographers in Highgate Cemetery
Stephen Furniss
Thursday, 21 February 2019
£9 at 7.30pm, doors open 7.00pm. Ticket includes a glass of wine
See more and book here
Where can I find more information about 'Watkins & Hill', Opticians from London. I bought a stereo daguerreotype from them, depicting the 1st duke of Wellington. Were they photographers? Or only resellers?
In my current library I can't find much... So I would like to learn more!
Feel free to post here or private: wouter.lambrechts@kdg.be
I noticed this write-up for the Royal Collection Trust's exhibition of Roger Fenton's work on the following website: https://www.rct.uk/collection/themes/exhibitions/roger-fentons-photographs-of-the-crimea/the-queens-gallery-buckingham
Published in contemporary newspaper reports, Fenton's photographs showed the impact of war to the general public for the first time. Through his often subtle and poetic interpretations Fenton created the genre of war photography, showing his extraordinary genius in capturing the futility of war.
I may be wrong, but, as far as I am aware, Fenton's photographs were not published in contemporary newspapers because the technology was not available in the 1850s. Perhaps the RCT meant engravings of his photographs. I am not sure how many of Fenton’s photographs were reproduced in newspapers as engravings, but perhaps some reader will be able to answer that question.
I also believe that Fenton did not intend to or indeed capture the futility of war in his images taken in the Crimea. To my mind, the closest he came to showing the downside of war was photographing the graves in the Cathcart's Hill Cemetery (left).
Fenton's iconic The Valley of the Shadow of War is indeed an emotive image of war, but is it anti-war? Fenton himself dressed in a Zouave's uniform (see above) and carried a rifle for a portrait in his hut at Balaklava, which was probably taken by his assistant Marcus Sparling. Was that the action of a man who was subtly and poetically trying to capture the futility of war?
I trust that this will stimulate some discussion..
David R Jones
To mark the launch of major project to digitise the Architectural Association Archives' historic lantern slide collection, a distinguished panel of speakers will discuss the resurgence of the analog, the spectre of a digital dark age and the meaning and challenges of photographic seeing within the analog and the digital.
Seeing Slowly: The Analog in Photography
The event will be held as part of the AA Collections talks and will take place on 18th February, 2019, at 18:30 (AA Lecture Hall), 34-36 Bedford Square, London, WC1B 3ES
Speakers:
Sue Barr holds a PhD from the Royal College of Art and is head of Photography at the AA. She works and exhibits internationally, most recently as part of the AutoPhoto exhibition at the Fondation Cartier in Paris.
Daniel Blochwitz is an independent curator as well as artistic director of photo basel, the Swiss art fair dedicated to photography and photo-based art. He has taught photography in courses, workshops and lectures at various universities and schools in the United States and Europe and his own photo-based work has been exhibited and published internationally.
Juliet Hacking is Programme Director for Sotheby’s Institute of Art MA course in Contemporary Art. Prior to this, she held the position of Head of the Photographs Department at Sotheby’s auction house in London. She is the author of 'Lives of the Great Photographers' (2015), general editor of 'Photography: The Whole Story' (2012), and has recently published ‘Photography and the Art Market’ (2018).
Gil Pasternak is Reader in Social and Political Photographic Cultures in the Photographic History Research Centre (PHRC) at De Montfort University, where he also leads the Photographic History MA Programme. Earlier in his career he worked as a photojournalist and a war photographer in the West Bank, the Gaza Strip, and in South Lebanon. He also practiced fine art photography and presented his work in a number of art galleries, including Tate Modern, the ICA, Machida Municipal Print Museum (Tokyo) and Kodeljevo Grad (Slovenia).
John Spinks is a renowned photographer who started his early career in fashion portraiture and commercial work for publications including Vogue, The Face, i-D, Wall Street Journal, Le Monde and the New York Times. He has also contributed to campaigns for Levi’s, Selfridges, Shinola and the menswear label Albam. His more recent work includes the evocative and highly acclaimed book, ‘The New Village’ (Bemojake, 2017) - a portrait of a Warwickshire mining village taken over a 17 year period using large format, 10 x 8 plates.
The Art Newspaper has reviewed the Don McCullin retrospective exhibition at Tate Britain and has taken the opportunity to look at the position of photography in Britain's principal museum. It says: The Tate show symbolises a shift in photography’s significance in British museums, and not just because the Tate is correcting its historic disregard. Last year, the V&A opened phase one of its Photography Centre, an expanded permanent space for photography. Despite collecting photography since its earliest years in the mid-19th century, the museum had waited until 1998 before assigning it a dedicated space. There are vast photographic collections at the Imperial War Museums in London and Manchester, and at the National Portrait Gallery (NPG). At the NPG, in particular, there has been an increasing volume of (often extremely popular) photography exhibitions over the past decade.
Read the full piece here
With the introduction of photography in the 19th century, printers no longer had to transfer the image manually onto the printing surface, but were offered the possibility to transfer the image by sensitizing the printing surface and exposing it to light, through a negative or positive depending on the printing technique.
With computer technology, negative or positive film is often no longer necessary. The image is transformed into dots by the computer and the image is transferred to the printing surface by light exposure in the machine.
Since their invention photomechanical printing techniques have continued to develop further. There are many similar variations of the same technique, each named differently by its inventor. This can be very confusing in the process of identification.
In this seminar the most important photomechanical techniques of relief, intaglio, planographic, screen and digital prints will be presented.
The different techniques (artistic and reproduction) will be examined by studying original prints under magnification. Two participants will share a stereomicroscope. The distinctive characteristics of each technique will be worked out through closely looking at the original prints, and exercises in identification.
The two day course provides an opportunity to look at a great number and variety of original prints and to develop skills in the identification of their techniques. There will also be the opportunity to compare photomechanical with manual prints.
Registration requests should be sent to: hombu@freenet.de
Hildegard Homburger, Papierrestaurierung, 10555 Berlin, Germany
Tel: +49 30 3912503
Seminar: Identification of photomechanical prints
June 13-14, 2019 at Papierrestaurierung Hildegard Homburger, 10555 Berlin, Germany
Hosted by Hildegard Homburger in cooperation with the Internationale Arbeitsgemeinschaft der Archiv- Buch- und Grafikrestauratoren
The language of the seminar will be English.
Maximum participants: 8
Costs: 335 Euro or 290 Euro for IADA-members
See: http://www.hildegard-homburger.de/photomechanisch1.html
Why print a photograph in 2019? We are witnessing the historic transformation of photography from tangible objects—prints, plates, and negatives—to code: intangible bits, bytes, and pixels. As the tether between visual culture and the material world is recalibrated every day, a new form of literacy is required to draw meaning from physical media and its obsolescence. At the very moment when characterization and interpretation of the printed photograph is rapidly gaining ground, the momentum toward dematerialization raises the issue of the long-term relevance and sustainability of photography as a material fact. Does the physical photograph still matter today—as a source for teaching, learning, and scholarship—and will it matter into the future?
This three-day program is organized by Paul Messier, Director of the Lens Media Lab at Yale’s Institute for the Preservation of Cultural Heritage; Monica Bravo, Assistant Professor of History and Theory of Photographic Media at California College of the Arts; and colleagues at Yale University with the support and guidance of the FAIC Collaborative Workshops in Photograph Conservation advisory committee. The program and elective seminars will be geared for educators, students, curators, photographers and, particularly, for conservators whose core value proposition is most directly tied to the physical photograph. Insights from conservators, scholars, makers, and the art market will address the premise that physical photography is a closed set. The optional final day of the workshop will model interdisciplinary inquiry and seek to incubate collaborations focused on photography as a medium both material and immaterial. New tools will be examined for characterizing and contextualizing the photograph both as object and disembodied image.
September 23 -25, 2019
Yale University, New Haven, CT
A Collaborative Workshop in Photograph Conservation
See more here: https://learning.conservation-us.org/p/material-immaterial#tab-product_tab_overview
Roddy Simpson, photographer and University of Glasgow honorary research fellow in the school of culture and creative arts has published a blog on Elizabeth Johnston Hall (1822-1901). Hall was one of the most famous photographed Scottish women because of the image of her produced in the mid-1840s by the pioneering Scottish partnership of David Octavius Hill (1802-70) and Robert Adamson.
Read the full blog here: https://universityofglasgowlibrary.wordpress.com/2019/02/01/early-photography-elizabeth-johnston-hall-1822-1901/
Image: Elizabeth Johnston Hall by Hill and Adamson. Carbon print by Jessie Bertram 1916. University of Glasgow Library, Special Collections Dougan Add. 40
Those of us with an interest in British cameras will know the Ensign Multex as an interesting and collectable camera from the late 1930s. It is unusual in being a 14 on 127 camera with a coupled rangefinder focussing down to 21 inches.
Launched in 1936 as “The British Precision Miniature Camera” it moved quickly through 3 variants (Model I, Model II and Model 0 in that order) in less than 3 years and then disappeared.
I am in the middle of a project to try to understand the development of this intriguing camera across its variants and I would appreciate any help readers can give me. My aim is to report back via a comprehensive article in Photographica World later this year.
There are two ways in which you may be able to help me. If you own a Multex, I have produced a survey document to help me to gather data on the production run. I can send this to you by email. Secondly, I would appreciate details or copies of any adverts or publicity material you may have access to which refers explicitly to the Multex Model 0. This appears to be the most common model amongst collectors, but I have not found any advertising which mentions it.
You will learn how to create exquisite, unique handmade prints on art paper. Make photograms from leaves & objects and/or images using your own photos. Book now so we can create your negs in time for the class. There will also be the opportunity to try toning, to create a wonderful range of different looks!
Darkroom workshops are led by Catriona Gray and are in small groups to maximise the learning experience.
All materials included. Cost £60
Darkroom London, Unit 10, Burmarsh Workshops, 71 Marsden Street, London, NW5 3JA
See more and book here: https://www.darkroomlondon.org/alternative-processes-cyanotypes/van-dyke-brown/polaroid-lift/lumen-prints/
The Royal Collection Trust has a number of upcoming events related to the exhibition Shadows of War: Roger Fenton’s Photographs of the Crimea, 1855 at the Queen's Gallery, London:
Creative course: Photography in Focus
Saturday, 9 – Sunday, 10 February, 10:00 – 17:00, £175
Enhance your photography skills on this two-day course led by award-winning British Army photographer Rupert Frere. Learn the theory behind taking a good photograph using Fenton's and Frere's own photographs as inspiration, before taking your new-found skills out into the heart of London under the supervision of your tutor. This course will improve your confidence, creativity, composition and help you find your photographic voice.
Book here: https://www.rct.uk/whatson/event/912681/Creative-course:-Photography-in-focus
Lecture: Roger Fenton: The First War Photographer
Wednesday, 20 March, 13:00–14:00, free with an exhibition ticket
Join Sophie Gordon, Head of Photographs, as she discusses Roger Fenton's photographs of the Crimean War, taken in 1855. The lecture will look at the commercial motivations behind Fenton's work and the public display of the photographs across Britain in 1855–6. It will also highlight the emotional content of this pioneering photography by comparing his images with the work of other Crimean War photographers.
Book here: https://www.rct.uk/whatson/event/912693/Roger-Fenton:-First-war-photographer
and at Windsor Castle:
Evening lecture: Crown and Camera: A Victorian Passion for Photography
Wednesday, 13 March, 18:30 – 20:00, £15
Queen Victoria and Prince Albert were fascinated by photography from a very early date. Catlin Langford, Assistant Curator at Royal Collection Trust, considers the wide range of photography they commissioned and collected that provides us with a unique glimpse into their passions, beliefs and private family life.
https://www.rct.uk/whatson/event/912396/Crown-and-camera:-A-Victorian-passion-for-photography
Images: top: © Rupert Frere; middle and lower: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.
Philip Banham collection of optical toys, optical prints, and stereoscopy including the Great Exhibition 1851 auction takes place at Bearnes, Hampton and Littlewood in Exeter on 6 March. In addition to the areas covered in the title the 236 lot sale also includes photographs, albums, persistence of vision devices and related equipment and images.
The auction has over 200 lots and includes some rare and unique pieces such as a rare stereoscopic daguerreotype of the visit of Napoleon III and Empress Eugenie with Queen Victoria and Prince Albert to Crystal palace (shown left), Sydenham, 20th April 1855. As well as rare pieces like this there are a number of good examples of stereoscopes, stereo cards and optical toys and prints that have been collected over a fifty year period.
For more information please contact Brian Goodison-Blanks 01392 413100 bgb@bhandl.co.uk
The online catalogue is now live here: https://www.the-saleroom.com/en-gb/auction-catalogues/bearneshamptonandlittlewood/catalogue-id-bearne10071
The archive of British photographer Daniel Meadows was acquired by the Bodleian Library in March 2018. It had been at the Library of Birmingham from 2014-2018. Northern Narratives, working in partnership with Daniel Meadows and The Bodleian Library, is developing an exhibition drawn from Meadows' substantial archive which will tour to a number of international galleries throughout 2020-21. Dates and venues will be announced in Autumn 2019. The exhibition will be supported by a new book published by the library.
Meadows' archive was assembled over nearly five decades. It contains his life's work — all the negatives and contact sheets associated with his photo-documentary work also a great many contextualising documents including posters, magazines, books, receipts, newsletters, notebooks, diaries, audio tapes, digital stories, his PhD document and research material, and much correspondence besides. It is housed in the Bodleian's Weston Library and at the time of writing accessioning is currently underway with its catalogue being mapped onto the Bodleian's own so that, from 2019, it can be made available online.
See: https://www.photobus.co.uk/the-archive/#LoB
https://www.northernnarratives.org/
https://www.bjp-online.com/2014/08/daniel-meadows-at-the-library-of-birmingham/
At a special event on 31 January 2019 Richard Ovenden, Bodley’s librarian, marked the conclusion of a six-year project to produce the William Henry Fox Talbot Catalogue Raisonné Project which commenced in earnest in 2016. The project has transferred the records of the world’s leading Talbot scholar Professor Larry J Schaaf on to a searchable, illustrated, database. It has set a model for future online catalogues raisonné. At the time of writing it features some 18,177 records, plus a supporting blog and contextual texts.
The conclusion was marked by two lectures and a panel discussion from Dr Kelley Wilder of De Montfort University and Malcolm Daniel of the Houston Museum of Fine Arts. Hans P Kraus Jr paid tribute to, and spoke on behalf of, Schaaf who was unable to attend the event.
Ovenden similarly paid fulsome tribute to Schaaf without whom the project would have not been realised and noted that, although the funding for it had ended, Schaaf had agreed to continue to support and enhance the data records. He also highlighted the fact that ‘photography is now at the heart of Bodleian Library’. The library acquired the Talbot archive from Lacock Abbey and has been actively developing its photography holdings.
The archive of British photographer Daniel Meadows was transferred from Library of Birmingham to the Bodleian Library in March 2018. Northern Narratives, working in partnership with Daniel Meadows and The Bodleian Library, is developing an exhibition drawn from Meadows' substantial archive which will tour to a number of international galleries throughout 2020/21. Dates and venues will be announced in Autumn 2019.
For many years I've been trying to identify the group of men in this stereograph. The original carries no information. Three of them are holding stereoscopes which suggests a meeting. I believe the man on the left is Roger Fenton and next to him looks like Frederick Scott Archer. If this is the case this could well be a meeting of members of the Photographic Society of London in the mid 1850s.
While it is easy to provide names of members from that time frame, the problem is attaching faces to names. I'm hoping that perhaps somewhere there is an identified version of this group, or lacking that, that perhaps someone will recognize any of the gentleman.
Any help or insight will be welcome. Thank you -- Paula Richardson Fleming
