I am looking to find the photographer of this image, a British cdv labeled 'The Widow's Mite'. It reminds me of Rejlander's genre scenes, but I have been unsuccessful in finding anything about it. No back mark. I have blurred out the seller's watermark here.
Much obliged for any information.
David
This talk presents new research looking at the relation between camera and cycle technologies in late Victorian Britain. Despite the challenges of carrying heavy and fragile glass-plate cameras on likewise heavy and laborious to ride machines, in this period combining cycling and photography was felt so close that contemporary commentators could write of ‘cyclo-photographers’.
A reason for this popularity was the confluence of new ways of moving and seeing that the engagement with these two modern cultural technologies had made possible, and that photographers embraced as a condition of being modern. This influenced profoundly the development of camera technology and its uses from the late nineteenth century.
As the talk shows, this was because cycling enabled a new experience of visualisation as individual expression that, in turn, shaped how cyclo-photographers thought of camera practices and what they expected of camera technology.
A Cultural History of Combined Technologies: Photographing and Cycling in Late Victorian Britain
Dr Sara Dominici
School of Humanities, University of Westminster
14 November 2018, 2:00 - 3:30pm
Royal College of Art, Battersea, Gorvy Lecture Theatre
Image: Cover of The Cyclist’s special annual issue for 1887
© From the Cycling Photographica Collection of Lorne Shields, Toronto (ON) Canada
BPH member Ben Lewis is trying to find more details about this photograph and the London photographer William E Gray who worked independently and was also associated with the company of Henry Dixon and Son Ltd which absorbed his business in 1931.
The photograph was taken for the Cook Collection around 1902-7. It has a number "Photo Gray 28992"
Four years ago Ellen Nolan inherited a suitcase. Inside was an archive of hundreds of images and documents belonging to her Great Aunt, Nita Harvey, an English actress on the brink of Hollywood success in the 1930s. In 1933 Nita was discovered through a beauty contest, summoned to Hollywood and signed to Paramount studios. She was prepared for performing by her mother, who constantly photographed her. Ellen has been working with the archive to create a dialogue between the performativity of the domestic portraits of Nita taken by her mother and family, and the professional industry images taken by Paramount Studio photographers. This paper will discuss the role of clothes in Nita’s life and career, and their function in the archive.
Ellen Nolan is an artist and Senior Lecturer in Photography and Fashion Photography at the University for the Creative Arts, Rochester. She was previously a photography lecturer at the London College of Fashion. Her research focuses on aspects of representation and performativity in commercial and domestic family photography. It considers the use of photography as a means of exploring the act of representation as a meditation on photography and image performance. Ellen worked as a successful fashion and portrait photographer and regular contributor over a 15-year period to magazines, including British Vogue, i-D, Purple and The Sunday Telegraph. She has shot major fashion advertising campaigns for Dries Van Noten, Levis, Nike and Eley Kishimoto. She also directed pop videos and shot album covers for Beth Orton, amongst other international artists. She continues to work for and collaborate with British fashion designer Margaret Howell. Her work has been exhibited internationally, including at The Photographers Gallery, Arles Festival and The National Portrait Gallery in London, where her work is part of their National Collection.
Courtauld Institute of Art
Friday, 9 November // 12.30-13.30
NITA HARVEY'S ARCHIVE
The Role of Clothes in the Life and Career of an English Actress (c.1930)
Organised by Dr Rebecca Arnold (The Courtauld Institute of Art)
Free and open to all
RESEARCH FORUM SEMINAR ROOM
CLICK HERE FOR MORE INFORMATION
FREE AND OPEN TO ALL
Newly qualified PhDs in photographic history may be interested in two Early Career Academic Fellow (ECAF) positions at De Montfort University. The position will ultimately lead to tenure in 2020. DMU is home to the Photographic History Research Centre and runs a MA history of photography programme.
See more here.
I returned to my one local antique store this week and traded some images I had for scores of English stereoviews. One is easy to identify in terms of place as its written on the back in copperplate "Royal York Crescent, Clifton. Bristol." I wonder if this view attached could be by William Harvey Barton, who was active in the 1860s.
The other view I attached is of a group of women and children with cows. It was in a box of cards marked USA but there is no evidence at all on the card to indicate that it is in fact North American or English.
Any ideas pleas?.
I bought more Francis Bedford views, some by Stirling photographer Alexander Crow(e) , some by Ladmore and Son and others by William Spreat, and a couple by Way & Sons (incredible labels!)
Mysteries also are a couple on yellow card stock with mauve backs and white label "The Thames. Nos. 44,60,63" No idea who the photographer may have been.. the labels remind me of George Washington Wilson..
This auction includes many photographs from the mid-19th century through to the mid-20th century, covering many parts of the globe. Of great rarity is a group of glass plate negatives of China by Thomas Child, which are the only known negatives by Child to survive and were made in Beijing in the 1870s and 1880s (lot 201). We are also delighted to offer photographs from the collection of Sven Gahlin, including a number of important 19th century albums of Indian and Anglo-Indian subjects by Shepherd & Robertson, Samuel Bourne, Eugene Clutterbuck Impey and Sir Benjamin Simpson among others. The Gahlin collection also includes photographs by Thomas Annan (shown right), Herbert G. Ponting, Hill & Adamson, and early photographs of Canada by Frederick Dally (lot 168).
BRITISH ISLES
25. Annan. Old Closes and Streets of Glasgow. 1900
EUROPE
62. Constantinou.. Album of Athens, c.1860
GENERAL
79. Dammann. Ethnological Photo gallery, c.1875
NEAR & MIDDLE EAST
96. Bonfils. Palestine album, 1870s
AMERICAS
AFRICA
181. East Africa, 1904-09
ASIA
269. Ponting. The Tenements, c. 1913
http://www.sothebys.com/en/auctions/2018/travel-atlases-maps-a-natural-history-l18405.html
Bonhams' auction of fine books and photographs includes, amongst other photography lots, a pair of albums 'Presented to the Rev. Robert Vaughan Pryce... by his father George Pryce, F.S.A. on his Birthday, December 15, 1866", containing
Also ncluded is a picture of Isambard Kingdom Brunel, flanked by his assistants Nicolas Tredwell and William Jacomb taken by Robert Howlett at the launching of the Great Eastern in 1857.
The photographs section at the V&A Museum have issued a newsletter following the launch of the Photography Centre.
We are delighted to be in touch with an update about the exciting activity that has been taking place at the V&A these past months.
Phase One of the V&A Photography Centre is now open. To mark this occasion, HRH The Duchess of Cambridge undertook her first visit to the V&A as Royal Patron on 10 October, ahead of the Centre’s public opening on 12 October.
More information about Phase One and the inaugural display in the Photography Centre, Collecting Photography: From Daguerreotype to Digital, can be found here: https://www.vam.ac.uk/blog/news/our-new-photography-centre-is-now-open
More information about the ongoing Photography Centre FuturePlan project, including Phase Two, can be found here: https://www.vam.ac.uk/info/futureplan
The opening of the Photography Centre kick-started a month-long Photography Spotlight at the museum. Highlights include:
SNAP
Friday Late in collaboration with i-D
26 October, 18:30-22:00
More information can be found here: https://www.vam.ac.uk/info/friday-late
Collecting Photography/Photography as Collecting
V&A Conference
16-17 November, 10:30-17:00
More information, including a draft programme, can be found here: https://www.vam.ac.uk/event/BGnX1K7a/collecting-photography-photography-as-collecting-nov-2018
Further information about all the events taking place as part of the Photography Spotlight can be found here: https://www.vam.ac.uk/exhibitions/photography-spotlight:2018
We hope many of you will be able to visit the Photography Centre soon and look forward to hearing your thoughts as we work towards Phase Two.
With best wishes,
V&A Photographs Section
Martin Barnes, Susanna Brown, Marta Weiss, Catherine Troiano, Rachael Chambers, Erika Lederman, Dan Cox, Marie-Kathrin Blanck and Lydia Caston.
Image: the new photography galleries on their first public open day.
Dr Juliet Hacking is speaking at two upcoming events:
Saturday 3rd November, afternoon
Workshop: An Insider’s Guide to Photography and the Art Market
https://thephotographersgallery.org.uk/whats-on/workshop/insiders-guide-photography-and-art-market
Friday, 16 November 2018 – Saturday, 17 November 2018
Symposium: Collecting Photography/Photography as Collecting - V&A
Download the programme here: https://www.vam.ac.uk/event/BGnX1K7a/collecting-photography-photography-as-collecting-nov-2018
Early French Masterworks from the Hyman Collection showcase rare, important works from the 1840s to 1850s by the first practitioners of negative-positive photography in France. This exceptional selection of 12 lots comprises 11 salt prints, of which three are accompanied by their unique paper negatives, and one albumen print. The 13 featured pioneer-photographers – Édouard Baldus, Hippolyte Bayard, Louis De Clercq, Alphonse Delaunay, John Beasley Greene, Louis-Adolphe Humbert de Molard, Firmin-Eugène Le Dien and Gustave Le Gray, Charles Nègre, Pierre-Émile-Joseph Pécarrère, Henri-Victor Regnault, Louis-Rémy Robert and Félix Teynard – all adopted the new medium of photography in France and contributed towards its technical and artistic advancement.
See the catalogue here: https://www.phillips.com/auctions/auction/UK040218
Image: J B Greene
Oscar Gustaf Rejlander (1813-1875) was a Victorian artist whose innovations in both the production and conceptual aspects of photography have secured him a place within the history of the medium. Surprisingly there has never been a major examination of his career ….until now.
The Canadian Photography Institute of the National Gallery of Canada presents the first-ever retrospective of the life and work of the celebrated Swedish-born, British photographer. Oscar G. Rejlander: Artist Photographer opened on October 19 at the National Gallery of Canada where it will be on view until February 3, 2019 before travelling to the J. Paul Getty Museum in Los Angeles. The exhibition features 140 of Rejlander’s photographs, paintings, drawings and prints.
Oscar Gustaf Rejlander began his career as a painter who took up photography in the early 1850s. He is referred to as the “Father of Art Photography” in recognition of the path he paved for present day photo manipulation and experimentation. Rejlander often employed the technique of combination photography, where two or more negatives are combined to make a new, single image. The exhibition includes two of the four known surviving versions of his famously controversial composite photograph Two Ways of Life, or Hope in Repentance, produced in 1857 from more than 30 negatives. Rejlander is also praised for his collaboration with naturalist Charles Darwin and his influence on the work of British photographer Julia Margaret Cameron and author Lewis Carroll. Their portraits, along with those of other influential 19th-century notables, including poet Alfred Tennyson are featured in the show.
“Oscar Gustaf Rejlander has a central place in the history of the medium. He was one of the first artists to show how photography could use allegory and narrative in the same way as more traditional arts such as painting and drawing,” said NGC Director and CEO Marc Mayer. “The National Gallery of Canada began acquiring photographs by Rejlander more than 35 years ago, and we are very happy to offer the public this overview of the work of this exceptional artist.”
The exhibition opens with work created during Rejlander earliest years in England - from 1839 to 1853. The section includes some of his non-photographic work including a large scale drawing along with some of his first landscape photographs. The second section of the exhibition contains several of Rejlander’s self-portraits and portraits of his wife Mary. In the third section photographs of Rejlander’s staged scenes of everyday life are on view followed by a series of photographic studies that Rejlander intended to be used as “photographic sketches” by other artists. One section of the exhibition examines Rejlander’s most famous work Two Ways of Life while the final section presents some of Rejlander’s studies of facial expressions made for Charles Darwin in preparation for his book, The Expression of Emotion in Man and Animals published in 1872.
“Rejlander’s photographs are highly relevant to artists who combine and rearrange images, not from glass negatives, but using digital tools,” said exhibition curator Lori Pauli, Curator of Photographs at the National Gallery of Canada. “Throughout this exhibition, I have tried to take a broader perspective of Rejlander’s contribution to the history of photography, before and after the creation of his most famous work known as Two Ways of Life. In Rejlander’s photographs we see a keen observer of human condition, whether he is showing us the comic side of everyday life or expressing compassion in his images of children.”
Rejlander was among the favourite photographers of Queen Victoria and her husband Prince Albert and some of his earliest photographs have been loaned for the exhibition by the Royal Collection in Windsor. The Metropolitan Museum of Art in New York, the Victoria and Albert Museum in London, the National Gallery in Washington, the George Eastman Museum in Rochester, the Harry Ransom Center at the University of Texas, Austin, and the Moderna Museet in Stockholm, have also loaned works for the show along with several other lenders from private and public collections. The exhibition includes 14 works from the collection of the National Gallery of Canada.
Oscar G. Rejlander: Artist Photographer is presented with support from Scotiabank, a Founding Partner of the Canadian Photography Institute. The show travels to the J. Paul Getty Museum in Los Angeles, where it will be on view from March 12 until June 9, 2019.
Also opening October 19, 2018, in the space adjacent to the Oscar Rejlander exhibition, is PhotoLab 5: Althea Thauberger. The two-channel video installation by the Vancouver-based artist and filmmaker Althea Thauberger, coproduced by the Musée d’art contemporain de Montréal, Concordia University and the Canadian Photography Institute (CPI) of the National Gallery of Canada, was inspired by discoveries she made while visiting the archival collection of the National Film Board of Canada’s Still Photography Division, whose archives are now part of the CPI collection. The thousands of photographs in the archives were commissioned for print and other media over a 40-year period, yielding stories of life in Canada in the post-war era- from small-town scenes to major events- that define our national history. Thauberger’s video installation, titled L’arbre est dans ses feuilles, (The Tree Is in Its Leaves), interacts with images from the archives while telling an evocative story of its own. Audio for the 30 minute video is provided by poets Danica Evering, Natasha Kanapé Fontaine, Kama La Mackerel and Chloé Savoie-Bernard. The exhibition, which was organized by Andrea Kunard, the Associate Curator of the Canadian Photography Institute, is on display in the CPI Galleries until February 3, 2019.
Publication
The exhibition is accompanied by a 300-page hardcover catalogue containing 225 colour and black and white images. With essays by the exhibition curator, Lori Pauli, and collaborators. The English and French editions are available for a price of $40 onsite at the Boutique and online at ShopNGC.ca.
See more here: https://www.gallery.ca/whats-on/exhibitions-and-galleries/oscar-g-rejlander-artist-photographer
There will be a London Stereoscopic Company 3D talk at the Courtauld Institute on 31 October. Titled The Poor Man's Courtauld Gallery it will examine how artists and stereo photographers explored the same themes with the advantages and limitations of their respective medium.
Admission is free but needs to be booked.
‘The Poor Man’s Courtauld Gallery’: re-staging paintings for the Stereoscope.
Wednesday 31 October 2018
6:00 pm - 7:00 pm
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London, WC2R 0RN
Details here: https://courtauld.ac.uk/event/the-poor-mans-courtauld-gallery-re-staging-paintings-for-the-stereoscope
On 3 November 2018 New York Public Library, Stephen A. Schwarzman Building Celeste Auditorium, hosts the first international symposium dedicated to the pioneering photography of Anna Atkins (1799-1871). Scholars in the fields of photography, conservation, natural history, and rare books will discuss her photographic legacy.
The symposium is open to the public, details here: https://www.nypl.org/events/programs/2018/11/03/anna-atkins-symposium.
The exhibition Blue Prints: the Pioneering Photographs of Anna Atkins opened on Friday 19th October at New York Public Library Stephen A. Schwarzman Building, featuring her ground breaking ten year project Photographs of British Algae, Cyanotype Impressions.
More details here https://www.nypl.org/events/exhibitions/blue-prints-pioneering-photographs-anna-atkins.
Lauren Ashley-Irvine, Conservator of Photographs and Paper, at the Victoria and Albert Museum has published a blog describing how one of the fascicles from Talbot's Pencil of Nature (1844) was conserved and prepared for exhibition in the museum's new photography galleries. The publication is part of the Royal Photographic Society Collection now held at the V&A.
Read the full blog here
As the 100th anniversary of the Armistice is looming I am asking for help to contact any living relatives of former Daily Mirror photographers who served in WW1 or worked for the paper in the UK during the conflict.
I am particular interested in Bernard, Thomas and Horace Grant who had all covered conflicts around the world before the outbreak of the Great War.
Other photographers of interest are David McLellan, Ivor Castle, Ernest Brooks and William Rider Rider official photographer with the Canadians. William after the war joined the Mirror and became our chief picture editor during WWII
These men served the Paper and their Country by recording the horrors of war only armed with their camera's. I would like to encourage the paper to recognise the service these men gave by telling their stories in their words.
Belgian soldiers resting after being pushed back by the advancing German Army. August 1914 - Bernard Grant
The Great Exhibition of the Works of Industry of All Nations, held in London from May to Ocbober of 1851, was the genesis of the Victoria and Albert Museum. Published to accompany the opening of the V&A Photography Centre, this book makes extensive use of the V&A collections and archival material related to the 1851 Great Exhibition.
Photography and the 1851 Great Exhibition is the first comprehensive study of the seminal gathering of photographs and photographic equipment that marked the global launch of the form. It examines the role and impact of photography at the 1851 Great Exhibition and beyond, drawing together two decades of research to create a broader understanding of the step-change in image making and distribution represented by that event. With a Foreword by Tristram Hunt and an essay on photoscience by Nicholas Burnett.
While the Great Exhibition has received a variety of examinations, its role in exhibiting and furthering the cause and exploitation of photography and its impact on illustration, printing, publishing, and the arts has been largely underappreciated. More broadly, 1851 saw a massive change in information management: in the creation and dissemination of visually based graphic information characterized by images of the building, its contents and their display that collectively constituted the Great Exhibition. Photography played a critical role in this quantum leap.
The scale and scope of photography of the Great Exhibition is made evident through reproductions of images produced by a wide range of amateur and professional photographers who documented the Great Exhibition, some of which are the only known images of now lost works of art. Also shown and examined are prints produced by traditional reprographics and lithographs and the photographic originals from which they were derived.
The result of more than twenty years of research, this study is based on a number of contemporary sources including official publications, the archive of the Royal Commission for the Exhibition of 1851, the correspondence of William Henry Fox Talbot, letters, newspapers, books, and articles in serial and periodical publications, as well as the Reports by the Juries, from which all 154 photographic images are reproduced in these pages.
Anthony Hamber is an expert on 19th century photography and the illustrated book, the contribution of photography to other forms of illustration, and the application of photography to art publishing. His first monograph, A Higher Branch of the Art; Photographing the Fine Arts in England 1839-1880 (Gordon & Breach, 1996) is a fundamental source of information in its field.
Available in the UK and Ireland from the Victoria and Albert Museum.
Price: £65
Order online: https://www.vam.ac.uk/shop/photography-and-the-great-exhibition-155372.html
Boots Archive are delighted to announce the second phase release of the online catalogue of the Walgreens Boots Alliance archive collections. This digital resource, which launched in 2017 has been supported by the Wellcome Trust, through their Research Resources programme. The archive includes phootgraphy and material relating to Boots' involvement with amateur photography.
The catalogue currently comprises around two fifths of the total archive holdings (c5,000 boxes) with over 27,000 entries and 4,500 digitised images. Subsequent additions to the catalogue will be made on an annual basis over the next three years until the entire collection is incorporated. The majority of the entries on the site relate to the Boots UK collection, and the material charts the development of the business into large scale manufacturing, product development, research and healthcare and beauty retailing. Information relating to product development, which includes employee training, formulations, packaging and merchandising records, is a particularly strong element within the collection. The holdings also include a large number of store and factory photographs and building plans.
In addition to the material relating to the history of Boots UK, other significant holdings also include the business records of Walgreens; Dollond and Aitchison; Optrex Ltd; Timothy Whites and Taylors Ltd; Unichem and E Moss Ltd.
The archive catalogue can be accessed here: http://archives.walgreensbootsalliance.com/
In this lecture Deborah Ireland explores how the Royal Geographic Society's first instructor in photography, John Thompson, applied images to the science of geography, to guide and influence a new generation of travellers. Thomson had a career as a photographer in China and elsewhere in Asia and took the photographs for Street Life in London.
Royal Geographical Society (with IBG), 1 Kensington Gore, London, SW7 2AR15 October 2018
at 6.30pm. Ondaatje Theatre doors open at 5.30pm
See more here.
The first day open to the public was a busy one for the V&A Museum's new Photography Centre as the pictures here show. Phase one of the Photography Centre more than doubles the space dedicated to photography at the V&A, spanning four new galleries. It opens with the major display Collecting Photography: From Daguerreotype to Digital, beginning in the newly named The Bern and Ronny Schwartz Gallery (formerly Gallery 100). The show explores photography as a way of ‘collecting the world’, from the medium’s invention in the 19th century to the present day.
Drawn from the V&A and Royal Photographic Society collections of over 800,000 photographs, the display showcases some of the most exciting contemporary photography being created today. It also shows seminal prints by pioneers William Henry Fox Talbot, Julia Margaret Cameron and Roger Fenton, alongside negatives, camera equipment, photographic publications and original documents to tell a broader story about the history of international photography. In The Modern Media Gallery (formerly Gallery 99), a frequently changing selection of new acquisitions, a ‘Light Wall’ for displaying screen-based photography, and a ‘Dark Tent’ projection area complete the space.
To mark the opening, the V&A has commissioned two internationally-renowned artists to produce major new works. German photographer Thomas Ruff, known for taking a critical and conceptual approach to photography, has created a monumental series inspired by Linnaeus Tripe’s 1850s paper negatives of India and Burma, held in the V&A’s collection. Digitally reinterpreting photographs made over 160 years ago, Ruff gives Tripe’s important and haunting images a new context, emphasising their hidden details and resurrecting them with spectacular new life. Alongside Thomas Ruff’s new series, American artist Penelope Umbrico has created 171 Clouds from the V&A Online Collection, 1630 - 1885, 2018, the first work to feature on the Light Wall. Umbrico works mostly with images she finds on the internet, presenting them in ways that reveal the fluidity of digital photography. For this video, she sifted through the V&A paintings collection online and extracted details of clouds. The work explores the transition from fleeting clouds to material paint, and then from digital code to physical screen.
Tristram Hunt, Director of the V&A, said: “I’m delighted to open the V&A’s new Photography Centre. The transfer of the historic Royal Photographic Society collection provided the catalyst for this dramatic reimagining of photography at the museum. Our collection – established by the V&A’s visionary first director Henry Cole - now seamlessly spans the entire history of photography, telling the story of the medium from the daguerreotype to the digital. Our new Photography Centre provides a world-class facility to re-establish photography as one of our defining collections. In an era when everyone’s iPhone makes them a photographer, the V&A’s Photography Centre explores and explains the medium in a compelling new way.”
Martin Barnes, Senior Curator of Photographs at the V&A, said: “The new Photography Centre brings to life some of the V&A’s most beautiful original picture galleries and provides a permanent home for one of the finest and most inspiring collections of photography in the world. The spaces and facilities allow visitors to access, explore and enjoy photography in its many forms. The Photography Centre encompasses more than a new gallery space. Beyond its walls lies an associated programme of research, digitisation, learning activities, publications, exhibitions, access to items in stores, and collaborations with other UK and international partners. Photography is one of our most powerful forms of global communication, and I’m thrilled that we can contextualise the past and present of this powerful medium in new and exciting ways.”
Visitors enter the new Photography Centre through a spectacular installation of over 150 cameras spanning 160 years. Nearby, an interactive camera handling station offers visitors an understanding of how photographers view the world through their equipment. Inside the gallery, focused sections look at a series of collections and collectors. This includes an important group of William Henry Fox Talbot’s cameras and prints; 1850s fine art photographs collected by Chauncey Hare Townshend, friend of Charles Dickens; Pictorialist photographer Alvin Langdon Coburn’s collection of photographs by his predecessors and contemporaries; and a selection of some of the most significant photojournalism of the 20th century collected by Magnum Photos’ UK agents, John and Judith Hillelson. A stereoscope viewer gives an immersive 3-D experience of Crystal Palace alongside some of the first photographs ever taken of Japan.
Over 600 objects made across Europe, the US, Africa, the Middle East and Asia have been brought together for Collecting Photography: From Daguerreotype to Digital. The display features images by early colour photography pioneers, Agnes Warburg, Helen Messinger Murdoch and Nickolas Muray, and recent acquisitions by Hiroshi Sugimoto, Cornelia Parker, Linda McCartney, Marco Breuer, Pierre Cordier and Mark Cohen. A ground-breaking botanical cyanotype by Anna Atkins, images by the world’s first female museum photographer, Isabel Agnes Cowper, and motion studies by Eadweard Muybridge, join photographs by some of the world’s most influential modern and contemporary photographers, including Eugène Atget, Man Ray, Bill Brandt, Walker Evans, Edward Steichen, Cindy Sherman and Martin Parr.
The Photography Centre also features the Dark Tent, a flexible multimedia projection and lecture space inspired by 19th-century photographers’ travelling darkrooms. Here, specially commissioned films revealing early photographic processes, including the daguerreotype, calotype and wet collodion process, are screened, along with a slideshow of rarely-seen magic lantern slides revealing the first attempts to reach the summit of Mount Everest in 1921 and 1922, among other photographic projections.
The opening of the V&A Photography Centre kick-starts a month-long Photography Spotlight across the V&A. Highlights include talks by leading photographers Mary McCartney, Rankin and Chris Levine; the premiere of the collaborative performance piece Last Evenings by artist Garry Fabian Miller and musician and composer Oliver Coates; a screening of Lisa Immordino Vreeland’s Love Cecil; and special performances, events, courses, workshops and a photography-themed Friday Late on 26 October.
Admission is free.
See more here, including details of special events and a symposium: https://www.vam.ac.uk/season/2018/photography-spotlight#highlights
Image below: © Will Pryce.jpg / above: © Michael Pritchard
