for all those interested in stereoscopy - please note my new website www.scotlan3d.com - it includes a list of all Scottish stereo-photographers known to me - any additional information gladly received thanks
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Back in May the NLS / NGS advertised for a curator (see BPH here) for the newly acquired £1 million Mackinnon Collection. The newly appointed curator is Blake Milteer who has most recently been photography collections curator at the National Library of Scotland. Before that he had a number of curatorial and teaching posts in the United States.
The latest issue of the National Library of Scotland's Discover magazine (Summer 2018) includes a feature on the Mackinnon Collection (see BPH here). The Collection provides a visual record of how Scotland has changes physically, socially and economically since the 1840s.
Discover is free from venues in Scotland or can be downloaded here.
The Scottish Society for the History of Photography has been delivering a remarkable series of events, lectures, articles and scholarly texts on the world of historic and contemporary photography since 1986.
This issue of Studies in Photography contributes to the continuing debates around photography and performance in their expanded fields and presents a number of case studies in a diverse and international range of work. This includes Greek funerary practices, Scottish Victorian portraiture, Belgian surrealist work, and the performative image surgery of the French artist ORLAN.
Contents include:
- Photography and Performance
- Photopoetry
- ORLAN
- Paul Nougé
- Writer’s Choice - Janice Galloway
The Summer 2018 edition is now out. Of particular note is Sara Stevenson's article on Marcus Sparling and Fenton.
Copies can be purchased here
Drawing on the BBC's rich archive, this documentary reveals the working practices, lives and opinions of some of the greatest photographers of the last 60 years. From Norman Parkinson to David Bailey, Eve Arnold to Jane Bown, Henri Cartier-Bresson to Martin Parr, for decades the BBC has drawn our attention to the creators of what has become the most ubiquitous contemporary art form.
Pioneering BBC programmes like Arena, Monitor and Omnibus have given unique insights into the careers of photography's leading practitioners. Through a selection of fascinating clips, this programme brings into focus the key genres - fashion, portraiture, documentary and landscape - and the characters behind the camera who have helped defined them.
BBC4: On Camera: Photographers at the BBC
Wednesday, 29 August 2018 at 2300, and then on the BBC iPlayer
A recently issued catalogue from the booksellers Quaritch Victorian Work and Leisure includes a number of unusual photographs, stereocards and items of magic lantern interest.
Click here to download:
Organised by Dr Stephen Putnam Hughes and Emily Stevenson, SOAS Anthropology Department, with support from the Economic and Social Research Council and the SOAS South Asia Institute, this one-day conference looks at the role of the postcard in representing peoples and places. Of particular note is the presentation by Professor Elizabeth Edwards, 'Little marks of ownership: museum postcards 1913-1939'.
See the full programme and book here.
As part of a series of Twilight Talks at Bath's world-renowned fashion museum Keith Lodwick, Curator of Theatre and Screen Arts at the Victoria and Albert Museum, will share a treasure trove of 3D stereoscopic slides from the Vivien Leigh Archive.
Thursday, 13 September 2018 at 1815
£10 adults / £8 students
Fashion Museum, Bath
Tate's growing collection of Paper and Photographic artworks presents unique challenges for conservation and preservation, requiring innovative solutions.
You will lead the development of the team, supporting research and enhancing practice in standards of care. You will formulate a preservation strategy for the historic, modern and contemporary art works in our care and further the national and international profile of the team.
Our Conservation department brings excellence to the care of all Tate’s collections. As a member of the Conservation Management Team, you will work with the Head of Conservation in the strategic planning and leadership of the department. You will co-ordinate the delivery of Tate’s public programme and be responsible for the operational planning, management and development of a team of specialists.
Read more and apply by 21 September here.
The New York Public Library which holds a copy at Anna Atkins' British Algae is hold an an exhibition devoted to her from 19 October 2018-17 February 2019. Anna Atkins (1799–1871) came of age in Victorian England, a fertile environment for learning and discovery. Guided by her father, a prominent scientist, Atkins was inspired to take up photography, and in 1843 began making cyanotypes—a photographic process invented just the year before—in an effort to visualize and distribute information about her collection of seaweeds. With great daring, creativity, and technical skill, she produced Photographs of British Algae: Cyanotype Impressions, the first book to be illustrated with photographs, and the first substantial application of photography to science. Ethereal, deeply hued, and astonishingly detailed, the resulting images led her and her friend Anne Dixon to expand their visual inquiry to flowering plants, feathers, and other subjects. This exhibition draws upon more than a decade of careful research and sets Atkins and her much-admired work in context, shedding new light on her productions and showcasing the distinctive beauty of the cyanotype process, which is still used by artists today.
Details of a symposium devoted to Atkins and her work will be announced shortly.
A companion exhibition looks at how Atkins's legacy lives on through the works of artists today in Anna Atkins Refracted: Contemporary Works, on view September 28, 2018–January 6, 2019
Read more here: https://www.nypl.org/events/exhibitions/blue-prints-pioneering-photographs-anna-atkins
Image: Anna Atkins, "Halyseris polypodioides" from Part XII of Photographs of British Algae: Cyanotype Impressions, ca. 1849, cyanotype.
The Royal Photographic Society has a long and distinguished history back to 1853. For much of its existence it has been the place where matters affecting photography’s technical development and its position as an artistic medium were debated and reported on. Its publications and membership are a key resource for anyone researching British photographic history.i
The Society has recently published a blog designed to help those researching its history, members and exhibitions. See more here: http://www.rps.org/blogs/2018/august/researching-the-society
We collectors of Mr. Wilson have much to celebrate this year with Professor Roger Taylor's just released new GW Wilson edition. Personally, my new acquisition of an album in the form of a book,containing 16 GWW views -- plus one other related to GWW's stereoscopic views -- P1180450.JPG delights me to no end. The views present , and some other circumstantial evidence, strongly suggest the 'book' belonged to a colleague of GWWs or a family member.I will write about this in detail later.
FOR NOW, PLEASE: Has anyone seen another example of this casing? Thank you very much. -- Edward McCann.
Can anyone help in locating where the image below was taken? It was found in a suitcase stuffed full of 5x3 film negatives, which was transferred to the Reach Central Archive, Watford at the end of 2017 when we moved the Surrey Advertiser Archive. From other negatives found in the suitcase we believe it is somewhere on the English South Coast taken in the late 1920s possibly early 1930s. Any thoughts?
I am selling a large part of my photography reference library: Over 450 books and many more catalogues. Most titles are viewable on this attached xl spreadsheet doc photo books xl document, giving author, title, size and indication of what it covers - there will be more items than appears on this list, journals, pamphlets etc
There are a large number of photography sale catalogues, from the 1970s onwards.... quite a few in the 90s and early 2000s will have notes etc -
Contact me for details, price etc
By working with photographs from the collections of museums and libraries, Michael Aird is testing whether historical photographs can become substantial evidence of Australian Aboriginal connections with land and place. He is studying images and combines archival research to contextualize how photographs can serve as more than illustrations, but they can also demonstrate historical continuities and change as well as connections to country over time. Who are the people featured in early photographs and what were the complex personal relationships between these individuals. Photographs can be used to ask research questions that may previously not been considered in native title claim research. This research methodology will question the value of photographs as historical documents, as well as how they are valued, and used by contemporary Aboriginal people as an important part of history and identity.
Michael Aird has worked in the area of Aboriginal arts and cultural heritage since 1985, graduating in 1990 with a Bachelor of Arts in Anthropology from the University of Queensland. Michael has worked in professional positions and as a freelance researcher, curator and publisher. In 1995 Michael was appointed Curator of Aboriginal Studies at the Queensland Museum, a position he held until 2000. His main research focus has been photographic history with a particular interest in native title and Aboriginal people of southeast Queensland. He has curated over 25 exhibitions, including curating Transforming Tindale at the State Library of Queensland in 2012, which was the first time photographs taken by Norman Tindale and Joseph Birdsell on their 1938 and 1939 expedition have been featured in a major exhibition. In 2014 he curated the Captured: Early Brisbane Photographers and Their Aboriginal Subjects exhibition at the Museum of Brisbane. In 1996 he established Keeaira Press an independent publishing house and has produced over 35 books. Much of what Keeaira Press has published focus on art and photography, which reflects Michael’s interest in recording aspects of urban Aboriginal history and culture. Michael is currently the Director of the University of Queensland Anthropology Museum and an ARC Research Fellow.
RAI RESEARCH SEMINAR
SEMINAR SERIES AT THE ROYAL ANTHROPOLOGICAL INSTITUTE
From illustration to evidence in native title: the potential of photographs
Michael Aird, Director of the University of Queensland Anthropology Museum
Wednesday 12 September at 5.30 pm
This event is free, but tickets must be booked. To book tickets please go to https://michaelarid.eventbrite.co.uk
Location : Royal Anthropological Institute
50 Fitzroy Street
London
W1T 5BT
United Kingdom
http://www.therai.org.uk
To truly lead our curatorial department, build our research profile, develop our collections and deliver content for an ambitious 'masterplan', we are looking for a Head Curator to join us at the National Science and Media Museum (NSMM), in Bradford, on a permanent basis.
In this role, you will champion your team to realise our ambitions to collect more contemporary materials, developing and maintaining our collections and creating innovative ways to engage our visitors. You will also be a senior leader at NSMM, communicating our vision to stakeholders, promoting a culture of high performance and encouraging collaborative practice, as well as raising our museums profile and expanding our networks.
Joining us, you will use your significant experience of curating collections and communicating stories in unique ways. Having experience of team leadership and skills at strategically managing budgets you will be passionate about working collaboratively, bringing a well-established network to advocate for best practice and sharing knowledge to develop our collections.
You will be offered excellent benefits including 27 days annual leave in addition to 8 bank holidays, the ability to join our pension scheme, BUPA medical and dental healthcare and an interest free loan offer whilst developing your career in a world class museum group.
Click here to view the Vacancy Information Pack which provides you with details of the role and supporting statement questions.
More here too.
While working through the British Journal of Photography I came across a reference to John Traill undertaking a photographic expedition to Orkney in June 1860 (listed by Peter Stubbs on his Edinphoto website) . He read a paper on it to the Edinburgh Photographic Society on 17 July 1861, published in the Journal on 1 August p. 269. He had with him a stereo camera and a 12 x 10" plate camera.... but where are his photographs? This is in fact John Traill Taylor, who became editor of the BJP from 1864 and spent time in America where he set up The Photographic Times. See: http://www.luminous-lint.com/app/photographer/John_Traill__Taylor/A/
There is one stereo pair in the Orkney Library that may be his work: http://photos.orkneycommunities.co.uk/picture/number25396.asp
It shows the 'Prince Consort', the vessel he took from Edinburgh to Kirkwall in June 1860.
This is not simply another colloquium about African photography within the field of visual studies. It is concerned with the question of how histories are written or assembled, and the materials that are drawn upon to narrate or analyse the past of the African continent, and the relationships between them. The field of African history is usually dominated by texts and oral-based accounts. When we ask what images (particularly photographs) do to the constitution of pastness and how it is narrated, this opens another kind of discussion. Fundamentally this is about the way photographs sit in uneasy and ambiguous relation to other materials generated in the past. They organise time and space differently. 'Photographs change everything’ (Edwards). What analytical opportunities do these insights open to us?
One part of this thinking concerns the disruptions of photographs when brought into conversation with other historical materials. There is a discursive association of history with what is visible, and what is usually taken into account archivally, which photographs are not. Does this mean that photographs constitute a kind of historical unconscious, at the edge of history?
A further part of our thinking is stimulated by the way photographs themselves work ‘at the edge of sight’, which goes beyond normative ways of seeing of, or through, photographs. Our keynote lecture will be presented by Shawn Michelle Smith of the Chicago Art Institute, author of On the Edge of Sight and co-editor of Photography and the Optical Unconscious.
Papers are not geographically confined to the African continent. We invite papers that address the more general methodological and theoretical challenges of working with photographs in relation to other archives and media. Abstracts should be sent to visualhistoryuwc@gmail.com. Full papers for pre-circulation will be requested several weeks in advance of the workshop.
The workshop is organized by the National Research Foundation (NRF) SARChI Chair in Visual History and Theory, Centre for Humanities Research, University of the Western Cape. All workshop accommodation and meals will be covered. A limited amount of funding is available for travel costs.
Deadline for abstracts: 31 July 2018
Contact: Patricia Hayes, visualhistoryuwc@gmail.com
On the Edge of History: Photographs and African Archives
International Workshop on Visual History & Theory
Cape Town
27-28 September, 2018
The University of St Andrews Library, Special Collections Division will be hosting a conference on Stereo Photography from 18-19 October, 2018 in conjunction with the St Andrews Photography Festival 2018: (Stereo)Views of Scotland.
The topics are broad reaching and will cover both the historic as well as the contemporary; from the rivalry between Sir David Brewster and Charles Wheatstone to how we have used, understood and interacted with 3D photography over the past two centuries.
This two day conference is an opportunity for researchers, historians, photographers, collectors, curators, collections staff and photo-enthusiasts alike to come together, in the home of Scottish Photography and picturesque town of St Andrews to gain a better understanding of the birth, development and evolving media that is stereoscopy.
All 3D presentations throughout the conference are delivered with the generous support of the London Stereoscopic Company.
For registration and to see the full programme click here: http://ow.ly/oI7m30l6KX9
