The new National Science and Media Museum website and new branding will be revealed on the 23 March. The website holding page can be seen here: www.scienceandmediamuseum.org.uk. BPH can also reveal that the museum's new website domain name was first registered on 18 November 2016.
UPDATED. The website is now live. A case study on the site by its designer Numiko is available here.
This is a real puzzle. a 10 x 10 inch silver print of an early illustration of Mars. At the bottom, "H. Spencer Jones". He was the British Royal Astronomer from 1933-1955 at the Royal Observatory at Greenwich.
I have no Idea why his name would be printed below a clearly earlier illustration of Mars. My Idea is that because this is a square image, it may be a copy of a lantern slide, used in one of his lectures????
Any Guesses out there?
Thanks, David
I am a curator currently researching half-plate size (approx. 4.75 x 6.5 inches) cameras and accessories available in Sydney, Australia, from the early 1920s that might have been used to create a series of portraits on dry plate negative held in our collection.
While half-plate was a common size, I am wondering how the photographer might have exposed two different images on a single negative. Please see example photographs at links below.
An advertisement from a local photographic journal published in 1923 for the Eastman View camera series - Eastman View Camera No. 1 and Eastman View Camera No 2 – includes the statement “The back is reversible and furnished with a vertical cut-off board, so that two negatives may be made on one plate if desired”.
- Would anyone know if this type of plate holder is unique to Eastman brand cameras, or even these specific models?
- If not, what were the brands/ model/ details for plate holders that allowed two exposures on one negative?
- Were these plate holders like this generally available for sale and during what period?
Any feedback on this research would be greatly appreciated. Many thanks in advance!
I am currently writing an article on the history of the exhibition of paper negatives, to present in a conference late this year. One of my goals is to evaluate which light sources conservators are using, especially when the negatives are backlit.
Although it can be relatively easy to find information on exhibitions featuring paper negatives (in exhibition catalogs and/or in some online collection websites), there is less information available out there about how that was done. The published case studies are surely only a fraction of what is done in practice to exhibit these objects. That is why I ask for your contribution.
Please take a few minutes to answer ten questions about this theme, whether you have worked or seen an exhibition featuring paper negatives. The survey is available until April 30, 2017, on:
https://www.surveymonkey.com/r/75XPW7S
Feel free to share the link colleagues you think might be able to help as well.
If you have any comments or questions, please send an email to leniajof@gmail.com.
Thank you in advance for participating.
Lénia Fernandes
I am trying to find out more about the camera Spanish photographer Rafael Castro y Ordóñez, member of the Comisión Científica del Pacífico, used during his expedition to America (1862-1865). He used a Dallmeyer lens of his own but the camera was purchased in London by British photographer Charles Clifford in early 1862. References suggest that it was a state of the art field stand camera. The plates produced are 26 x 31 (10 x 12") and 16 x 21 (6 x 8 "). The lens was probably a Dallmeyer-Petzval type combined lens, good for portraits and landscape photography.
I regret to say I am no expert in nineteenth century camera. Could anybody help me find out about the kind of camera he may have used? I need more information for my PhD dissertation.
Thanks very much in advance
Sit. Pose. Snap. Brisbane Portrait Photography 1850–1950 explores the phenomenon of portrait photography in Brisbane, and shows how the process of capturing and sharing a portrait evolved from the formal studio sittings of the 19th century through to more candid and relaxed photographs of the 20th century.
Featuring hundreds of Brisbane residents captured in over 330 photographs from local studios and amateur photographers between 1850 -1950, this exhibition draws from the extensive private collection of Marcel Safier – one of Australia’s most significant collectors of portrait photography. Discover the variety, trends and historical progression of photographic types through this period, from the early forms of daguerreotypes through to cartes de visite, cabinet photos, tintypes, postcards and snap shots.
A number of floor talks will take place across the duration of the exhibition.
Museum of Brisbane, Brisbane City Hall, 64 Adelaide Street, Brisbane, Queensland, Australia
24 March-30 July 2017
10:00 to 17:00
Free entry
https://www.museumofbrisbane.com.au/whats-on/sit-pose-snap-brisbane-portrait-photography-1850-1950/
There are several exhibitions of the work of British photographer Roger Mayne taking place. His vintage London and Paris photographs to be shown at Quaritch in May and will comprise small-format vintage prints, from iconic images of children playing to views of Paris photographed the year before his renowned Southam Street series. The exhibition will run Wednesday 10 to Friday 19 May at 40 South Audley Street.
In the meantime, you can see Roger Mayne’s work at two current exhibitions. The Photographers’ Gallery in London is the first major exhibition since 1999 to show Mayne’s iconic work. Thelma Hulbert Gallery in Honiton, Devon, is exhibiting Mayne’s large-scale photographs of Southam Street. These prints were hung in the barn at the photographer’s home in Lyme Regis and now remain in a fragile state revealing layers of age and decay.
Roger Mayne, Quaritch, London, 10-19 May. More here.
Roger Mayne, The Photographers’ Gallery, until 11 June. More information here.
Beyond the Lens, Thelma Hulbert Gallery, 11 March-22 April. More information here.
BPH publicised the International Conference Stereo & Immersive Media 2016 last year. The conference organisers have made the presentations available on Youtube and you can delight in, enjoy, and learn from Larry Schaaf and Denis Pellerin (use the links and then check the Youtube sidebar for the others) amongst others.
Barry Lane, who has died aged 72, was the first, and only, photography officer at the Arts Council and was later Secretary-General of the Royal Photographic Society between 1995 and 2001. As a champion for photography at the Arts Council Lane played a pivotal role in supporting a new wave of emerging British photographers. After he left the Arts Council as Head of Photography he was not replaced and British photography had to look to other supporters to ensure it remained funded and exhibited.
Barry Lane was born in Watford on 22 March 1944. He attended Watford Boys Grammar School between 1955 and 1962. The following year he went up to Oxford University where he gained a BA(Hons) in Philosophy and Psychology, graduating in 1967, having been President of the university’s art club. He remained in Oxford as the first director of the Museum of Modern Art where he established the museum an important venue for the contemporary visual arts with early exhibitions of photography, experimental architecture and installations as well as the more traditional mediums of paintings and sculpture.
In 1970 he joined the Arts Council as Regional Art Officer organising fourteen touring exhibitions over three years including early shows of the 1840s photographers D O Hill and Robert Adamson and the pioneering Serpentine Gallery Photographers I and II. In a foretaste of the later role he commissioned eight pairs of photographers to work in eight cities to produce Two Views exhibitions. The photographers included Ian Berry, Chris Killip and Josef Koudelka.
Away from the Arts Council Lane acted between 1972 and 1977 as curator of the Francis Frith Collection which mainly consisted of British topographical photography from the 1850s. He was director of Photographic Collections Ltd between 1973 and 1977 where he supervised the production of limited edition portfolios of the work of H P Robinson from originals in the RPS Collection and, in 1975, Tony Ray-Jones who had died in 1972. The latter has become collectible in its own right.
It was Lane’s role as the Arts Council’s first, and only, photography officer between 1973 and 1991 where he made his greatest and most long lasting impact on British photography. One of his first acts was to establish a Photography Committee for the Arts Council’s Visual Arts Department in 1973. This was the first time that photography had been formally recognised as an independent medium and it came as British photography was developing rapidly with a new wave of photographers creating innovative work across a range of genres and new independent galleries such as London’s The Photographers’ Gallery (1971) and York’s Impressions Gallery (1972) showing photography. A new grant giving scheme was introduced and these galleries benefitted from newly available funding.
Lane was responsible for organising or commissioning a large number of exhibitions: Diane Arbus was shown in 1973 at the Hayward Gallery which also showed Pictorial Photography in Britain 1900-1920 (1978) and Neue Sachlichkeit: New Realism in German Photography of the 20s (1978) were notable. Historians such as Aaron Schaaf, Margaret Harker, David Mellor, Valerie Lloyd, and Ian Jeffrey were commissioned to produce exhibitions. In addition, a large number of Arts Council touring exhibitions were produced from Masterpiece Treasures from The Royal Photographic Society (1971), Modern British Photography 1919-1939 (1980) and retrospectives of photographers including Andre Kertesz, Alvin Langdon Coburn, Sir Benjamin Stone, Walter Evans, Paul Strand, Bill Brandt, Bert Hardy, George Rodger and many others which opened up photography to a public audience across the United Kingdom.
Lane also supported photographers directly and purchased over 2000 photographs for the Arts Council’s collection. He established and edited British Image a new series of Arts Council publications of contemporary photography with eight volumes appearing between 1975 and 1980. The biennial National Photography Conference was set up and continues to this day. The first national policy for Photography and Photography and Education (1987) was developed for the Arts Council. Photographic education was something Lane was strongly committed to and he was an external examiner for a number of UK photography degree and postgraduate degree courses.
In 1991 Lane’s title was changed to Head of Photography recognising his role in developing strategy for the photography sector with a discussion document Photography, the Arts and Culture Industries for the National Arts and Media Strategy (1991), commissioning the Marchant Report on the National Network of Photography/New Media Centres (1994) and Creating Vision – Photography and the National Curriculum (1994). He remained deeply involved in supporting independent photography through publishing and making funding decisions with reviews of the business plans and programmes of The Photographers’ Gallery, Creative Camera and Ten.8 magazines. The 1998 Year of Photography and Electronic Image which was awarded to Yorkshire and Humberside was conceived and organised by Lane.
Lane joined the Royal Photographic Society as secretary-general in April 1995 where he was responsible for the day-to-day management of the Society. His appointment came at a particularly challenging time with the Society’s National Centre of Photography struggling financially and its collection of historic photographs and equipment being seen by some as an unnecessary burden on the organisation. An interview with Lane soon after his arrival indicated that he saw the continued operation in Bath as unsustainable.
An Arts Council funded feasibility study was produced which recommended moving from Society’s premises and finding a partner to enable greater access to and use of the Collection. Lane was involved in exploring a number of options. The Society’s officers decided to enter into negotiations with the then National Museum of Photography, Film and Television, now National Media Museum, The way this was managed was something that Lane strongly disagreed with and he left the Society in January 2002. The Collection, with the aid of a small grant from the Heritage Lottery Fund was ultimately sold to the Museum and the Society moved to smaller premises.
After the RPS he turned his energies to his boyhood love of archaeology and local history. Between 2002 and his death he was actively involved in developing and supporting a wide range of regional and local activity. He was an early member of CHERT (Charterhouse Historic Environs Research Team) and founded the Westbury Society where he mixed practical exploration with academic research.
He also played an important part at the county and regional level, becoming Hon Secretary of (SANHS) Somerset Archaeology and Natural History Society from 2006 to 2009 when the Society was creating a new constitution and organising its move from Taunton Castle. He served on the Society’s archaeology committee and administered its historic grant fund from 2002 to 2017 and was a trustee from 2003 to 2009. He chaired the Council of British Archaeology from 2008 to 2011 and was responsible for organising the national CBA conference in Cornwall during that time.
He was a committee member and newsletter editor of the Somerset Vernacular Buildings Research Group, undertaking detailed building and village surveys for them and private property history commissions as well. But his main interest from 2010 to 2016 was the Wells and Mendip Museum where he was Honorary Curator. In this role he took responsibility for reinvigorating the displays, creating new galleries, building a partnership with the City Archives and ensuring the Museum retained its registered status.
As well as these public roles he found time to research and write. As well as the commissioned house and property histories, he wrote both scholarly and engaging articles about such subjects as the mediaeval drainage of the Somerset levels, the meaning of the Somerset term ‘Old Auster’ and changes in the landscape resulting from the move from Celtic to Anglo Saxon Christianity. His final article, unfinished at his death, was on early church dedications to St Lawrence in Somerset. He was published in peer reviewed journals such as SANHS Proceedings and Archaeology in the Severn Estuary.
In his local community he bought a Victorian cider press at a farm auction which has since become the centre of a community cider making and wassailing tradition. He also bought a field, planted a traditional Somerset cider orchard, and became part owner and trustee of a 7-acre area of woodland, managed for conservation purposes. He kept bees, taught local people how to do serious archaeology, led walks explaining the history of the landscape and collaborated with English Heritage on their 2016 book on the landscape history of Mendip.
An extraordinarily generous man he completely lacked vanity, was unimpressed by status and gave freely of his time to whoever came to him with enthusiasm and a desire to do and learn. He will be much missed by all the people he has supported and whose knowledge he has enriched.
He will be particularly missed by his wife, Sue Isherwood, his daughters from his first marriage to Judith, Thalia and Helena, his step daughter, Imogen, and four grandchildren.
Barry John Lane, born 22 March 1944, died 4 March 2017.
© Image: Angela Williams. Text: Dr Michael Pritchard FRPS and Sue Isherwood
• Details of Barry Lane's funeral can be found here.
and as a reminder...
National Science and Media Museum is the new name of the former National Museum of Photography, Film and Television (June 1983) and National Media Museum (December 2006), according to the Guardian newspaper.
The re-named museum is due to reveals it's new website and branding later this month.
In addition, the museum is opening a state-of-the-art £1.8m interactive gallery and the arrival of astronaut Tim Peake’s spacecraft are among a series of major launches at the National Media Museum this year.
Featuring UK-firsts and breath-taking live shows, Wonderlab explores the science of light, sound and images through state-of-the-art exhibits – including some that can’t be seen permanently anywhere else in the world. Visitors will be able to see their body split from their head as they walk, hear their voice echo through a 15m-long tube, experience an anti-gravity mirror and a musical laser tunnel, as well as watch one of the world’s first 3D-printed Zoetrope installations.
The Bradford-based museum has also confirmed it will host the world-famous Soyuz TMA-19M spacecraft that carried Major Tim Peake to the International Space Station (ISS) and back to earth. Visitors will be able to see the space-faring vessel this September when it travels outside London for the first time since it was acquired by the Science Museum Group in 2016.
Jo Quinton-Tulloch, Museum Director, said: “These announcements are not only incredibly exciting, but a significant statement of intent – that we are aiming to be one of the leading museums in the UK and worldwide. The museum has a bright future and we are confident people are going to be wowed by Wonderlab and the state-of-the-art exhibits within, along with many other events we have planned like the arrival of Tim Peake’s spacecraft.
“We want to draw in new visitors, encourage existing ones to come more often and open a whole new chapter for the museum. Our collections across the technology and culture of photography, film and TV are unrivalled, and Wonderlab explores the science behind what makes these things magical in a very hands-on way.”
Main image: The Soyuz TMA-19M spacecraft with museum director Jo Quinton-Tulloch and Bradford MPs Naz Shah and Philip Davies
Barry Lane, who has died aged 72, was the first, and only, photography officer at the Arts Council and was later Secretary-General of the Royal Photographic Society between 1995 and 2001. As a champion for photography at the Arts Council Lane played a pivotal role in supporting and exhibiting a new wave of emerging British photographers through funding and exhibitions. After he left the Arts Council as Head of Photography he was not replaced and photography had to look to other supporters to ensure it remained funded and exhibited.
He joined the Royal Photographic Society in 1995 and left after disagreements over the future of the RPS Collection.
BPH's thoughts are with Sue, his partner, and family. A full obituary is in preparation and will be published shortly.
UPDATE: A memorial service for Barry Lane will take place on Tuesday, 14 March 2017 at 2pm at Westbury-sub-Mendip parish church. Everyone is welcome to attend and and afterwards in Westbury Village Hall.
Westbury is on the A371 4 miles equidistant between Wells and Cheddar. The nearest railway stations are Castle Cary (16 miles) and Bath (20 miles).
Family flowers only and donations to Greenpeace and Dignity in Dying via the undertakers, Unwins, Wells, t: 01749 679927
BBC4 has a season of photography programmes starting this coming week with a three-part series looking at the history of British photography. Other programmes will look at Harry Burton, the official photographer for Howard Carter’s Tutankhamun excavation during the 1920s; the working practices, lives and opinions of some of the 20th century’s most distinguished photographers; follow street photographer Dougie Wallace around London; and examine the classic family photo album. The season also has a companion exhibition at the National Media Museum Britain in Focus: A Photographic History which will show original photographs from many of the photographers featured in the season.
Britain in Focus: A Photographic History (three parts, Monday, 6, 13, 20 March, 2017, BBC Four at 2100
Photographer and picture editor Eamonn McCabe explores the fascinating and remarkable story of British photography, from the rapid innovation of Roger Fenton in the Golden Age of the 19th century, to the satirical eye of Martin Parr in the 21st. He examines the profound technical and scientific changes that have allowed iconic images to be produced, chronicles the rise of a mass democracy of picture taking, and reflects on the changing way we have consumed photographs.
Throughout this three-part documentary series Eamonn sees how the art form has developed, examining some of the unforgettable images from pioneers of British photography, including Julia Margaret Cameron, Fay Godwin, Cecil Beaton, Christina Broom, John Bulmer and Vanley Burke. From the first 'big bangs' of photographic development and early technology, through to the impact that captured images had on the development of journalism, photography emerged as both an art-form and a tool for reflecting and recording the world around us.
The programme will also look forward to the future of the medium - and how in the hands of a new generation of photographers, a thoroughly 21st century British photography is being created.
Clips from the programme can be seen here: http://www.bbc.co.uk/programmes/b08h95c3/clips
Photographers at the BBC (transmission time to be confirmed)
Using the BBC archive, this programme reveals the working practices, lives and opinions of some of the 20th century’s most distinguished photographers. From Norman Parkinson to David Bailey, Eve Arnold to Jane Bown, for decades the BBC has drawn the nation’s attention to the creators of what has become the most ubiquitous contemporary art form. Pioneering BBC programmes like Monitor, Face to Face and Omnibus provide unique and rarely-seen insights into the careers of many leading practitioners.
Through a selection of top photographers, the programme brings into focus the key genres (fashion, portraiture, documentary and landscape) and shows how these talented figures helped develop photography into a revered – and accessible – art form.
What Do Artists Do All Day: Dougie Wallace (transmission time to be confirmed)
Street photographer Dougie Wallace’s startling and eye-catching images capture the life of the inhabitants and visitors to the super-rich residential and retail district of Knightsbridge and Chelsea, with its solid gold-plated Bugatti’s and high end retail consumerism.
BBC Four follows Wallace as he finishes his exhilarating, headline-grabbing photography photo-documentary series ‘Harrodsburg’: an up-close wealth safari capturing the ultra-rich consumers who populate one of the UKs most wealthy and exclusive postcodes.
The recent winner of a Magnum Award for his work, Dougie's images are aggressive, confrontational and opinionated. But he is unrepentant about his methods, and his message: “They come here because the rule is they can do whatever they want. Well, the rule of law in the UK says that I can photograph them. I’m just showing the wealthy, I’m taking pictures of them to highlight things like food banks in Glasgow.”
The Man Who Shot Tutankhamun (transmission time to be confirmed)
This is the story of Harry Burton, one of the great heroes of British photography. As the official photographer for Howard Carter’s Tutankhamun excavation during the 1920s, Burton created some of the 20th Century’s most famous images and helped make Tutankhamun an international sensation.
The film explores key locations in Burton’s life, in the UK and Egypt, and sets Burton’s famous black-and-white images of Howard Carter’s Tutankhamun excavation alongside forgotten colour photographs and cine film shot by Burton himself. The team led by Margaret Mountford and contemporary photographer Harry Cory Wright will also stage creative photographic experiments to discover the secrets of Burton’s art, re-creating the make-shift studio and dark-room that Burton set up by the Pharaoh’s tomb to reveal how he produced his iconic images.
Burton immortalised some of the most iconic moments of the 20th century, and besides recording the progress of the archaeology, his images capture the mystery, drama and excitement of one of the great archaeological discoveries of the century.
Smile! The Nation's Family Album (transmission time to be confirmed)
In today's digital age, the classic family photo album has become an object of nostalgic affection. But its more than just a collection of sentimental snapshots. Celebrating everyday moments and shared experiences - from birthdays to weddings, first days at school to teenage parties - amateur photography offers an intimate portrait of Britain’s post-war social history. And each generation had a different camera to tell their story.
From Teddy Boys in photo booths to family holidays captured on Kodachrome, this film reveals the images and the cameras which preserved our most precious memories. Discovering how new technologies and evolving social attitudes inspired the nation to pick up a camera, the film charts a journey from the Box Brownie to Instagram, offering a touching portrait of our changing lives, taken not by the professional photographer but on our own cameras.
The BBC is also seeking family photographs to accompany the series. See: Full entry guidelines for Smile! The Nation’s Family Album.
Details of the National Media Museum's exhibition Britain in Focus which runs from 25 March until 17 June can be found here
Main image: © John Bulmer, Washing Line, Halifax, 1965, from the National Media Museum exhibition Britain in Focus.
Alexander McGlashon (sometimes spelled McGlashan) was born in 1811 and established a successful career as a copperplate printer in Edinburgh; examples of his printed work from about 1840 onwards can be found in various museums. As a member of the Association for the Promotion of the Fine Arts in Scotland he clearly had interests beyond the merely mundane and it is not surprising that he became interested in the relatively new medium of photography; while retaining his printing business this seems to have become his main interest. It is difficult to be certain of the date that he first took to photography but two portraits of Thomas Smellie dated 1854 are held by the Eastman Museum; it is likely that he was also producing stereographs at this time.
In 1854 he took the momentous decision to travel to Melbourne in Australia to further his photographic career. He ran M’Glashon’s photographic gallery from 7 Collins Street East, charging from 5 shillings for a portrait in glass. Several stereographs from this period are held in museums – there is a reasonable case for believing that he may have introduced the stereo process to Australia. Two fine prints of Collins Street in Melbourne have also survived.
He returned to Edinburgh in 1857 where he continued to be very active in photography. Stereographs were hugely popular and he produced many of these featuring views of Edinburgh and central Scotland; an advert he placed in an Edinburgh magazine in 1858 listed 172 stereos. While many of the stereos are well executed “tourist” shots he also in some views explored a more consciously artistic approach. From an embossed retailer's stamp on some of these stereos we know that they were also being sold in USA, suggesting that McGlashon was having considerable success in his photographic business. He lectured on the theory and practice of photography in the Edinburgh Institute. He was a council member of the Edinburgh Photographic Society whose meetings he on occasion chaired and indeed he also gave talks to them on photographic subjects. In addition he was involved in photographic projects with Octavius Hill including exhibiting at the London International exhibition in 1862.
He photographed many well known individuals, as was reported in the contemporary press, leading to the granting of a royal warrant in 1863 when, in November, in partnership with John Walker he photographed the Princes Alfred and William of Hesse, the first occasion on which a member of the royal family sat for an Edinburgh photographer. The two McGlashon portraits of the top selling Victorian novelist Mrs Gaskell are particularly well known being the only photographs of her.
McGlashon continued to be actively involved in photography into the 1870s. He died in Edinburgh in 1877. Fortunately many of his photographs have survived and we are now able to appreciate his importance in mid century Edinburgh photographic circles.
This exhibition, at Derby Museum and Art Gallery from 24 March, explores early studio photography from 1854 onwards with a focus on the collection of W. W. Winter Studio in Derby, one of the oldest running studios in the world. Over the last 170 years the Winter photographers have recorded Derby and the people and things that were both important and commonplace in the town as it grew into the city that we know today.
Curated by Greg Hobson.
See more here: https://www.derbymuseums.org/whats-on/people-place-and-things
The National Library of Scotland has an extensive collection of photographic material, including loose and mounted photographs, photograph albums, slides, negatives, volumes illustrated with photographs and photographic postcards. There are several discrete photographic collections but most of the material is dispersed through the print and archival collections. The post of Photographic Collections Curator is one of several roles created as part of a project to improve the Library’s knowledge of these collections, to develop its policies and practices in this area, and to make the collections more accessible through description and digitisation.
The Photographic Collections Curator will report to the Rare Books, Maps and Music Collections Manager but will work across the entire range of the collections, including General Collections, Manuscripts and Archives Collections and the Moving Image Archive as well as the RBMM collections. They will survey the photographic collections in their entirety, co-ordinate finding aids, inventories and catalogues, and will work on a project to digitise and create metadata for one particular collection.
Applications are encouraged from individuals who have both subject expertise in the history of photography and its technical processes and experience of working with photographic collections in a library, archive or other cultural heritage institution – in particular, experience of cataloguing and description, collection management, digitisation and/or interpretation.
Please click here for job description
Working at the Library
See more and apply here
The Legacy of Alfred Hugh Fisher and the Colonial Office Visual Instruction Committee (COVIC) is a PhD research scholarship including stipend and tuition fee costs offered within the Photographic History Research Centre in the School of Humanities at De Montfort University In collaboration with the Royal Commonwealth Society department at Cambridge University Library. It is available to UK or EU students who are suitably qualified and have outstanding potential as researchers.
In offering this scholarship the University aims to further develop its proven research strengths in the study of photographic histories, practices and cultures. It is an excellent opportunity for a candidate of exceptional promise to contribute to a stimulating, world-class research environment.
The Colonial Office Visual Instruction Committee (COVIC) was a body charged in 1902 with creating a visual record of Britain’s overseas territories for use in British schools. Cambridge University Library (CUL) maintains its photographic archives, and this project will focus on the Fisher Photograph Collection. Mainly comprising of photographs taken by artist and amateur photographer Alfred Hugh Fisher in 1907-1910, the collection documents changes to physical and sociocultural environments across the globe during the first decade of the twentieth century. A collaboration between the Photographic History Research Centre and Cambridge University Library, this project will explore the significance of visual records in cultural exchange, and how subsequent re-use of images from the Fisher Photograph Collection led to innovative understandings of ‘other’ cultures and lands.
PhD supervisor: Dr Gil Pasternak
PhD Commencing October 2017
For a more detailed description of the scholarship, the subject area at DMU and an application pack please visit http://www.dmu.ac.uk/research/graduate-school/phd-scholarships.aspx.
For additional details you may also want to check this advertisement: http://www.jobs.ac.uk/job/AXP124/graduate-school-full-bursary-phd-scholarship-the-legacy-of-alfred-hugh-fisher-and-the-colonial-office-visual-instruction-committee/.
Please direct academic queries to Dr Gil Pasternak on +44 (0)116 201 3951 or email gpasternak(at)dmu.ac.uk. For administrative queries contact the Graduate School office email: researchstudents@dmu.ac.uk, tel: 0116 250-6309.
Completed applications should be returned together with two supporting references and an academic transcript.
Applications are invited from UK or EU students with a Master’s degree or good first degree in a relevant subject (First, 2:1 or equivalent). Doctoral scholarships are available for up to three years full-time study commencing in October 2017 consisting of a bursary of £14,296 per annum in addition to waiver of tuition fees.
Please quote ref: ADHFB2
CLOSING DATE: Monday 10th April, 2017.
Interviews for shortlisted candidates will be held by Friday 28th April approximately
Making Jamaica which is open at Autograph/ABP, London, explores how a new image of Jamaica was created through photography in the late nineteenth century. More than 70 historical photographs, lantern slides and stereocards reveal the carefully constructed representation of this transitional period in Jamaica’s history. For first time, its people are depicted as an industrious nation post-emancipation, and their surroundings as a desirable tourist destination and tropical commodity.
These photographs present an intriguing vision of the ‘unspoiled beauty’ of one of the Caribbean’s major islands during a period of economic and social change, and illustrate the efforts of its local ruling white mercantile elite to bring the island’s valuable resources to the attention of the wider world.
These archival images are exhibited in London for the first time courtesy of the Caribbean Photo Archive, alongside a new commission by contemporary artist Ingrid Pollard.
See more here: http://autograph-abp.co.uk/exhibitions/making-jamaica?mc_cid=ed083826fc&mc_eid=dee88b2478
Under the Dark Cloth: Working with Photography Studio Archives is an International one-day symposium at QUAD, Derby, on Saturday, 8 April 2017, presented to coincide with the exhibition People, Places, and Things: the W. W. Winter’s Archive, on show at Derby Museum during Format 2017.
Commercial photography studios were once common sights on almost every high street. Each has its own distinct history and place within the lives of the communities they documented and served. Many of these studios are now closed, their rich archives lost or destroyed, and the history of these important social, commercial and cultural institutions lost forever.
This event welcomes a range of speakers who have saved, preserved, researched and presented exhibitions about studio archives. Their papers explore a diverse range of subjects revealing how the photographic studio can contribute to migrant identity formation; how an Italian art dealer employed photography for commercial purposes; the issues for studio photography when it moves across from a private space into the public domain of the archive and the gallery; a remarkable project to salvage and restore the extraordinary studio of the Portuguese photographer Carlos Relvas and the work undertaken to preserve the archives of the two oldest working studios in the UK. The papers will be complimented by a short series of films about studio archive projects.
Presented with support from the new Photography Collections Network, the event aims to provide a platform to share skills, knowledge, and experience among those working in this field, and to tell some of the stories about the studios, the photographers, their subjects and their archives.
The event is supported by the Heritage Lottery Fund, UAL Photography and the Archive Research Centre (PARC), the Royal Photographic Society, The Photography Collections Network, QUAD, FORMAT Festival, Derby Museums, Arts Council England, W. W. Winter and The Art Fund.
See more and book here: http://www.formatfestival.com/events/symposium-under-dark-cloth
