Blogs

The advent of photography in 1839 catapulted Victorian society into a new age of science, art and leisure. Previously only the wealthy could possess a painted portrait, but photography was cheaper and democratised the privilege of owning a likeness. A variety of forms soon emerged including the carte-de-visite, the daguerreotype, albumen prints, family photograph albums and stereoscopes.

This exhibition explores some of the ways that early photography was enjoyed by a society that quickly become obsessed with the new technology. See how the industry boomed and the culture of celebrity was born.

Close Up & Personal: Victorians & Their Photographs is a new interactive exhibition of photography and photographic items from the Watts Gallery Collection, with loans from the London Stereoscopic Company. See images of Victorian celebrities, and discover the rise of photography as art through the images of Julia Margaret Cameron and Henry Holiday. Interact with stereoscopic viewers (the first 3D photographic technique), and take a Victorian-style selfie.

Events

24 June: Watts at Dusk: Camera Obscura

16 July: Watts Academy Workshop: Pinhole Cameras

25 July: Study Day: Victorian Stereoscopes with Denis Pellerin

29 July: Watts at Dusk: Light & Shadow

4, 11, 18, 25 August: Free Family Drop-in: Photography Studio

19 August: One Day Workshop: Photography

25 August: Curator Breakfast Tour

12, 19, 26 Sept, 3, 10 October: Five Week History of Art & Design Course: Photography in the Victorian Age with Colin Ford CBE Hon FRPS, Bronwen Colquhoun, Denis Pellerin, Rhian Addison and Hilary Underwood

12 October: Evening Talk: The Dawn of Photography - From the Camera Obscura to the Kodak Brownie with Rob Dickins

See more at: http://www.wattsgallery.org.uk/en-gb/whats-on/close-personal-victorians-their-photographs/

Watts Gallery Artists' Village, Down Lane, Compton, Guildford, Surrey, GU3 1DQ

The Moscow Multimedia Art Museum has announced the launch of a new portal, History of Russia in Photographs, which exhibits around 80,000 photos dating from 1860 to 2000. The museum's director, Olga Sviblovo, said the portal's goal was to unite all museum and private photo collections in order to create a 'visual Wikipedia on Russian history in photos.'

Sliders allow a user to select and see photographs from a particular period or images can be search by name or keyword. 'We're now developing the site's English version and perfecting the auto translator because searching on the site is done through tags'. explained Sviblova.  Google's auto translate facility provides a workable site, although tags are in Cyrillic at the moment. 

The project brings together photographic material from all of Moscow's museums and the state archive, as well as with regional museums and the heirs of well-known Russian photographers. Users can also post their own photos, enhance the images and act as curators by creating their own exhibitions with accompanying texts and comments. 

See: https://russiainphoto.ru/

Image: Stallion Lyudmil, c.1860-1870s. From the collection of the Grand Duke Nicholas. Source: MAMM / MDF.

While St Andrews is world-renowned as the home of golf, BPH readers will know the important role the town has played nationally and internationally in photography from the 1840s to today. A new photography festival, which launches in August, will celebrate the role and importance of St Andrews in the world of photography and engage with those who live, work in and visit the town.

BID Chairman, Alistair Lang, explains: “We are one of the most photographed and filmed towns in the world, yet few realise much of the technology we enjoy the benefits of today began with the work of a collection of photographic pioneers who lived and worked in St Andrews in the 1800s.”

Dr John Adamson is perhaps the most celebrated – a blue plaque adorns the wall of his former home in the town on South St, now The Adamson Restaurant. But many other names are to be celebrated for the role they played, including Sir Hugh Lyon Playfair, David Octavius Hill, Robert Adamson, Thomas Rodger and Sir David Brewster.

The first six-week-long festival – from August 1 to 11 September - will see events and exhibitions focus on the earliest days of photography in St Andrews as well as Scottish documentary photography over the last 175 years and contemporary photography.

The festival will put some of the photographic highlights of the University of St Andrews Library Special Collections on show as well as creating a showcase for contemporary Scottish photography. 

Up to 15 local businesses will be involved, including cafés and restaurants, hosting small-scale exhibitions. There will also be tours, seminars, workshops and talks including guest photographers as well as workshops to demonstrate a variety of photographic processes including calotype and collodion - two of the earliest and those used by the town’s renowned pioneers of the art.

The exhibitions will include:

• 175 Years of Scottish Photography
• A 40th Anniversary retrospective of Edinburgh’s Stills Gallery
• Pioneers Thomas Rodger - who set up the first purpose-built photographic studio in St Andrews in 1849 - and Robert Moyes Adam
• Renowned Press photographers George M. Cowie and Harry Papadopoulos
• Documentary photographers Franki Raffles, David Peat, Dr Hamish Brown MBE, Sean Dooley and Document Scotland (Colin McPherson, Jeremy Sutton-Hibbert, Sophie Gerrard and Stephen McLaren)
• Photographic artists Calum Colvin RSA OBE, Kit Martin and Keny Drew

There will also be a number of events, including a ‘Become a Street Photographer’ youth workshop, a Victorian Tintype Studio, a photographic tour of St Andrews and talks by photographers including Hamish Brown on his travels in Morocco. 

Alistair adds: “Today’s technology ensures we can all be photographers and we’re inviting everyone to be a part of this unique festival which we hope will become a regular fixture in the town’s calendar.”

“This event is about participation – engaging with people who live and work in the town as well as those visiting during the festival. We’ll also be using the event to reach out to those who like, follow and otherwise engage with us on digital and social media channels worldwide…using photographs.”

“The festival includes indoor and outdoor venues – making use of the town’s stunning setting and landscape to showcase work and engage with photographers of all ages. It will also provide an opportunity for businesses across the town to get involved and interact with customers in new ways.”

The St Andrews Photography Festival will run from 1 August to 11 September 2016.

For details as they’re revealed, go to the Festival Facebook page at www.facebook.com/StAndPhotoFest/

I am asking members here for help in identifying this nude albumen photo. 20 x 16.5 cm oval print laid onto stiff card, with an ink inscription lower right: Octavie.

This came from a British album recently purchased in Derbyshire, containing hundreds of erotic albumen prints of paintings and sculptures, all female nudes. This was the only "from life' print, save for some later "Zulu" Nude photos.

I can imagine a Gentleman in his grand country house keeping this in a locked drawer in the library, for his own perusal!

A lovely photo, I think, especially with the crown and cross necklace. The seller thought that 'Octavie' may be a sly, almost anagram of "Victoria".  I'm not so sure, My thought was a classic Greek or Roman allegory, but then the cross makes no sense. I haven't figured out the name Octavie...

I believe it to be 1860's-70's, but have not found a similar image from either England or France. It seems to my eye to be too stiff and formal to be a French nude.

I rely on the wealth of knowledge here to help with conjectures...

Many thanks in advance, 

David

You may not have seen, but last week Manohar Aich , the Indian bodybuilder died at the remarkable age of 104. He was known as the 'Pocket Hercules', as he was under 5 feet tall, but his feats were legendary and he won Mr Universe in 1952.

I mention this because when he came to London in 1952 he stayed with my Grandfather S.D.Jouhar, who took a series of pictures of Manohar, one of which you can see here.

If you want to read a more comprehensive obituary of this man you can find it here: http://www.bbc.co.uk/news/world-asia-india-36457508

I finally got around to scanning some more of my black and white archive, this time further photographs from a trip to England in 1994 forming a new sequence.

The photographs picture my now ageing mother (these were taken over 20 years ago), an English fair, medieval tiles and Highgate Cemetery, among other subjects. They become especially poignant after the recent passing of my father.

The image of  my mother plays off against a land that is noting an absence - maybe an absence of a certain type of yang force... even the "strong draught horse" seems to come from another time. My mentor said of the sequence: "Wow - that is really good Marcus". Praise I value highly indeed.

The photographs form a sequence and should be viewed horizontally. Please click on the long small image to see them in this format when viewing on Art Blart. See the full sequence at http://wp.me/pn2J2-842

Dr Marcus Bunyan

I am scanning my negatives made during the years 1991 - 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image.

Marcus Bunyan
An English fair
1994

Marcus Bunyan
Medieval tiles
1994

Marcus Bunyan
Covered figure with flowers
1994

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On 30 June there is a party to celebrate Studies in Photography the journal of the Scottish Society for the History of Photography SSHoP) at the Scottosh National Portrait Gallery, Edinburgh. From the relaunch of the journal will appear as a twice yearly publication with this Anniversary Edition that takes as its inspiration the 1996 edition which featured the work of several photographers who exhibited in the seminal exhibition Light From the Dark Room at the National Galleries of Scotland in 1995.

International Photography Curator at the Scottish National Portrait Gallery, Anne Lyden, will welcome guests followed by distinguished photographic artist Alexander Hamilton, Chair of SSHoP (Scottish Society for the History of Photography), who will introduce us to the work of the society and its journal, which is now for the first time available to the general public.

Edinburgh based photographic artist and co-editor of SSHoP’s biannual publication, Robin Gillanders, will announce forthcoming events and lectures.

Members of SSHoP committee will be present along with a number of renowned photographers featured in the journal to meet attendees, sign books and discuss their work, including Patricia Macdonald, Catriona Grant, David Williams, Calum Colvin, Owen Logan, Ron O’Donnell, Ian Stewart and Thomas Joshua Cooper.

Enjoy an evening of live jazz, drinks and receive a 15% off* purchases made on the night, including Studies in Photography and publications by key photographers from the Society.

The SNPG Gallery will be open for viewing during the event until 7pm.

See more here: https://www.nationalgalleries.org/whatson/events-calendar/scottish-society-for-the-history-of-photography-journal-launch-party/date/2016-06-09/interval/0/

Two more titles have appeared in the RAI Anthropology and Photography on-line pamphlet series. Catherine de Lorenzo and Juno Gemes, From Resistance Towards Invisibility and Shireen Walton, Photographic Truth in Motion: The Case of Iranian Photoblogs. 

Both are available without charge to download at: https://www.therai.org.uk/publications/anthropology-and-photography

At the turn of the twentieth century, Robert Demachy (1859-1936) was one of the most famous photographers in the world. As the leader of the French school of pictorial photography, he fought tirelessly for the recognition of photography as a means of artistic creation. Demachy remains particularly important for his masterly use of pigment processes which enabled pictorial photographers to deeply modify the print for the sake of 'interpretation', then considered as the ultimate way to give a photograph its artistic value.

Robert Demachy’s work is far from being limited to these very impressive achievements.This exhibition gathers a hundred photographs, most hitherto unseen which show the breadth of his photography. 

Normandy was a haven, as much as a source of inspiration, for Demachy, an aesthete who, although belonging to the Parisian upper class, dreamt of a simple life in the country. He was very fond of the Côte Fleurie where he spent each summer and which became the setting of many of his landscapes, portraits and snapshots.

The exhibition Robert Demachy. Impressions de Normandie was conceived as a journey. A journey through the Calvados region for one, but more importantly a journey into the creation of a photographic work from the creation of the negative to the public exhibition of a personal interpretation of the initial subject. Eighty years after his death in a small country house on the heights of Hennequeville (near Trouville), the Musée Villa Montebello has decided to pay tribute to Robert Demachy, a true artist and lover of Normandy who had elected, as a means of expression, not the brush, the pencil or the chisel, but the camera.

Curated by Julien Faure-Conorton, this exhibition is part of the 'Normandie Impressionniste' Festival. A catalogue (in French) is published in conjunction with the exhibition (Cahiers du Temps Editions, 120 pages).

See more here: http://www.cahiersdutemps.fr/robert-demachy-impressions-de-normandie-f218028.html

Robert Demachy. Impressions de Normandie. Photographies du Calvados 1880-1920
June 18, 2016 – September 25, 2016
Open: Wednesday to Sunday – 10am to noon and 2pm to 5.30pm

Musée Villa Montebello
64, rue Général Leclerc - Trouville-sur-Mer, France
www.museevillamontebello.com

Image: Robert Demachy, Trouville Harbour, 1911-1914, oil transfer print, private collection.

Philippe Garner, who held the first photography auction in the United Kingdom in 1971 at Sotheby's and then moved, via Phillips, to Christie's in 2004, retired from the auction world on 31 May 2016.

Garner joined Sotheby's training scheme in 1970. In March 1971, he took charge of the fledgling department devoted to Art Nouveau and Art Deco and was also asked to coordinate the first specialist auction of photographs in the United Kingdom, scheduled for December 21^st that year. Photographs were one of the new fields in the innovative programme of Sotheby’s Belgravia, a satellite auction project devoted to overlooked areas of the 19^th and 20^th centuries. After thirty-one years with Sotheby’s, Garner joined Phillips, de Pury & Luxembourg in September 2002 and moved to Christie's in 2004 as their International Head of Photographs and of 20^th Century Decorative Art & Design.

Garner has built an international reputation for the breadth and depth of his knowledge. Among the highlights of his auction career were the historic dispersals in 1999 and 2002 of photographs from the celebrated collection of Marie-Thérèse and André Jammes.  

Garner has been a trustee of the Photographers' Gallery, London and he currently sits on the Advisory Board of the National Media Museum and on the Board of the Helmut Newton Foundation. Among his particular interests is the story of fashion and its related areas of photography and he has published widely on this field, producing monographs on Cecil Beaton and 60s photographer John Cowan and essays on numerous photographers including Richard Avedon, Guy Bourdin, Helmut Newton, and Irving Penn.  Garner has also curated a number of exhibitions including ‘A Seaside Album – photographs and memory’ in 2003, drawn from his own collection of the history of photography in the town of Brighton, and ‘Antonioni’s Blow-Up’ in 2006, exploring photography within this cult film.  Garner was contributed texts to publications for the Victoria and Albert Museum, London, the Albertina, Vienna, the Centre Pompidou, Paris, and the Metropolitan Museum of Art, New York.

Garner received The Royal Photographic Society's Award for Outstanding Service to Photography in 2011.

He has been a key figure in the development of photography’s place in the art market as well as supporting photography more widely during his career.  A video of Garner talking about the market for photography and his role can be watched here. 

See also: http://www.loeildelaphotographie.com/en/2016/06/01/article/15990788

Image: Philippe Garner / © Christie's

This post was updated on 29 August 2016 with additional information supplied by Philippe Garmer. 

A workshop co sponsored by The Birkbeck History and Theory of Photography Research Centre, The Birkbeck Institute for the Humanities and the Department of Law, LSE.

The history of photography and the legal presentation of documentary proof enjoyed a complex relationship from the nineteenth century onwards, which was variously fuelled by pragmatism and suspicion. This workshop aims to examine the ways in which photographic technologies have contributed, both practically and symbolically, to the construction of particular legal, evidential and affective modes of vision. Criminal mugshots, passport photographs and other forms of official and domestic styles of photographing the face will be considered in their historical and geographical contexts and in relation to forms of gendered colonial and post-colonial identity. The workshop will be informal and structured around 30-minute papers, with generous time for discussion amongst the audience.

To see the programme and to book tickets click here. 

The British Journal of Photography, the world’s second longest continuously running photography magazine, has announced that it is raising funds using a thoroughly new method: by offering shares to its readers and followers via crowdfunding website CrowdCube. Due to unprecedented demand the campaign has reached its initial funding goal within hours of going live, with up to 28 days still left for investors to get involved.

Established in 1854, BJP has changed dramatically since its early Victorian roots as a weekly gentleman's journal discussing the science of photography. It now encompasses a high-quality, recently redesigned monthly print magazine, award-winning apps for iPad and iPhone, and an expanding series of events and social media channels that reach more than a million people. Combining an artistic, contemporary focus with a technological savvy, BJP sits in a unique space in the industry.

Against declining sales for print magazines globally, BJP is part of the recent boom in independent publishing, and has increased its international subscription base by 70% over three years while building a wider international readership via its apps and online.

BJP is seeking fresh investment to bring its archive - which spans over 160 years of content - to the public via the web. Over 180,000 pages, encompassing all of photographic history, have already been scanned and digitised.

It also plans to expand its online editorial coverage globally, to grow its programme of live events, and to enable photographers to sell their images to its international audience.

With one of the oldest photography magazines in the world embracing a thoroughly modern investment model, equity crowdfunding allows BJP’s dedicated readership an opportunity to share in the future of a photographic institution.

Marc Hartog, CEO & Founder: “We have over 650,000 people who follow us on social media because they love what we do. We want to give them the chance to be a part of our future plans by offering them a share of the company. Crowdfunding has become mainstream in the short three years since starting our business, and this interesting new platform has created an opportunity for us to give our readers and followers the chance to invest in our profitable and growing business, and to own a piece of photographic history from as little as £10."

To register your interest or find out more visit: bjp.photo/invest

The BJP pitch page is now live at www.crowdcube.com/bjp

Contact: Marc Hartog / marc@apptitudemedia.co.uk

Established in 1854, British Journal of Photography is the world’s second longest, continually published, and most influential photography magazine, defining the future of contemporary photography. It is available as a premium-quality monthly print magazine, as well as online, iPad, and iPhone publications. BJP has a combined audience of more than a million creatives worldwide. 

With their power to create a sense of proximity and empathy, photographs have long been a crucial means of exchanging ideas between peoples across the globe. This book explores the role of photography in shaping ideas about race and difference from the 1840s to the 1948 Declaration of Human Rights.

Focusing on Australian experience in a global context, a rich selection of case studies show how photographic encounters between Aboriginals, missionaries, scientists, photographers and writers fuelled international debates about morality, law, politics and human rights. While the camera has been extensively analysed as a weapon of authority, surveillance and control, this volume uncovers a story of photography as a more complex social force. Drawing on new archival research, it is essential reading for students and scholars of race, visuality and the histories of empire and human rights. 

Jane Lydon is the Wesfarmers Chair of Australian History at the University of Western Australia. She currently leads the Australian Research Council-funded project, ‘Globalization, Photography, and Race: the Circulation and Return of Aboriginal Photographs in Europe’, which is partnered with four major European museums: the University of Oxford’s Pitt Rivers Museum, UK, the Cambridge University Museum of Archaeology and Anthropology, UK, the Musée de Quai Branly in Paris, France, and the Museum Volkenkunde in Leiden, the Netherlands.

Photography, Humanitarianism, Empire
Jane Lydon
Bloomsbury Academic, 208pp. 
ISBN 9781474235501

Complete the Order Form below which includes a special 30% discount offer: Flyer%20PHE%202016.pdf

Anthropology & Photography is a new open-access publication series edited by the RAI Photography Committee. Emerging from the international conference of the same name organized by the RAI at the British Museum in 2014, the series will highlight and make available to the widest possible audience the best new work in the field.

The second in the RAI Anthropology and Photography on-line pamphlet series has been published and is available for free via download. It is titled:  Emilie Le Febvre, A Shaykh's Portrait: Images and Tribal History amongst Bedouin in the Negev

See more and download here: https://www.therai.org.uk/publications/anthropology-and-photography

This one-day international symposium, held at the V&A, London, will explore Paul Strand’s breakthrough pictures, his experiments with film in the 20’s and 40’s beside significant place projects conceived as books from Ghana to the Hebrides. Speakers include Peter Barberie, The Brodsky Curator of Photographs, Philadelphia Museum of Art; Writer and Journalist, Sean O’Hagan, Academics, Barnaby Haran and Fraser MacDonald, Artists Paul Duke and Nii Obodai and Curator Osei Bonsu.

Booking details below and the programme can be seen here: https://shop.vam.ac.uk/whatson/index/view/id/1246/event/Reframing-Paul-Strand/dt/2016-06-03/eType/1/free/2

A new website looking at early Norfolk photography has been launched by John Benjafield. The site aims to provide reference material and place the region's photography into a wider context.

See: http://www.earlynorfolkphotographs.co.uk/

Mirjam Brusius, a postdoctoral fellow at the Bodleian Libraries and the History Faculty, has been awarded the prestigious Aby Warburg Prize, which is awarded every four years to early career researchers. The prize - awarded by the City of Hamburg, Germany - is named after the Hamburg-born art historian Aby Warburg (1866-1929), one of the most influential thinkers in art history and cultural studies in the 20th century.

Dr Brusius received the award for her research, which uses the interdisciplinary ‘Warburgian’ approach to study the work of photographic pioneer William Henry Fox Talbot, whose personal archive is held in the Bodleian Libraries. Warburg used large collections of photographs to compare different images to one another and draw broader conclusions about the visual, art history and antiquity. Dr Brusius’ research examines how Talbot used a similar approach decades earlier, and how he used photographs to classify objects and make sense of them in the context of scholarship and museums. She has published a monograph, a co-edited volume and several articles on this topic and continues to study questions of cultural transmission and the cultural significance of antiquity in European museums.

The Aby Warburg Prize is given to both eminent established scholars and junior researchers in the scholarly field of arts, culture and the humanities. Dr Brusius won the junior award, which includes a cash prize of 10,000 Euros, and she will receive the award at a ceremony in Hamburg in November 2016.

You can read more about Mirjam here: https://www.trinity.ox.ac.uk/people/profiles/mirjam-brusius/

The BFI has announced progress towards realising its ambition to build a new International Centre for Film, TV and the Moving Image, with an offer of support of up to £87m towards the £130m total project cost, subject to a tender process beginning. The BFI hopes to open the new building to the public in 2022.

The BFI is at the heart of film in the UK with a network of partners and alliances, filmmakers and audiences that together create an environment where film, TV and the moving image as a cultural art-form and economic driver can flourish. The major new cultural venue on London’s South Bank (on the existing Hungerford Car Park site) will be a flagship national home for this most diverse, influential and rapidly evolving art-form.

The new Centre will be the final piece in the development of London’s South Bank Cultural Quarter reflecting the UK’s worldwide reputation for creativity and achievement in film, TV and moving image. It will fuel the imagination of both the public and industry; giving visitors - from school children to award-winning creatives - new experiences in film whilst providing a hub for filmmakers, artists and industry professionals to meet, exchange ideas, showcase their work and develop skills.

Highlights include:

• Constantly evolving, rich programmes of film, TV and moving image to provide a depth of experience that includes on-stage interviews and masterclasses, world premieres, new releases, classics, restorations, film and live music events and presentations using new and emerging technologies;
• Adventures in some of the earliest experiments in moving images - including a giant zoetrope and new camera obscura to the latest wonders in holographic and virtual reality storytelling;
• The best possible presentation of films in three cinemas (800, 180 and 120 seats) in a technologically perfect environment screening on every format of film and digital – enabling work to be shown as the filmmaker originally intended;
• Using the BFI’s world-leading knowledge of film and TV, a state of the art education and research centre will be open to school groups, students and families with free access to the world’s biggest film collection, events and exhibition schedules and expert education teams;
• A major gallery space to present exhibitions of international scale celebrating Britain’s award winning creativity and skills in areas such as animation and VFX to showcasing the most intimate and rare film ephemera including scripts, private letters and photographs;
• Specially commissioned new moving image installations from great filmmakers and visual artists throughout the building’s public spaces;
• With over 7 million views of BFI archive collections online in 10 months, the UK’s appetite to explore its film heritage is bigger than ever. New creative presentations of the UK’s national collection of film and TV – the BFI National Archive – will give the public a new way to enjoy over 100 years of filmmaking;
• The Centre will be a new home for the BFI London Film Festival, giving it a venue of international stature.

The BFI is currently working closely with the other key landowners (Southbank Centre, Braeburn Estates, Jubilee Gardens Trust and Lambeth Council) and the local community to ensure that the development will be sensitively designed to complement an expanded Jubilee Gardens. The new Centre will occupy a riverside position on London’s South Bank and as part of this development Braeburn Estates will also create c.6,500 sqm of new green parkland on Jubilee Gardens, dramatically extending the current space between The London Eye and Hungerford Bridge.

One of the ambitions for the Centre is to work with the BFI’s existing partners to share content digitally across the UK through a network of nationwide venues that can also host touring exhibitions and programmes and develop pioneering in-venue film education programmes. This builds on the success of the BFI’s UK-wide strategy, including its VOD platform BFI Player, the BFI Film Audience Network (FAN) and a national film education programme through Into Film.

The new Centre has been welcomed by London Mayor Sadiq Khan and Leader of Lambeth Council Lib Peck and has been embraced by industry figures including Lord Puttnam, Idris Elba, Helen Mirren, Gugu Mbatha-Raw and Tom Hiddleston, amongst others. The Mayor of London, Sadiq Khan, said: “London is home to some of the world’s finest arts and cultural organisations, one of which is undoubtedly the BFI, an internationally renowned centre for independent cinema. These plans for a new state-of-the-art building offer a fantastic opportunity for the capital’s moving image artists. As well as strengthening London’s position as a global leader for the creative industries, the centre will create a new generation of TV and film lovers and give Londoners of all ages the chance to experience film and its amazing heritage in the UK.”

Amanda Nevill, BFI CEO said: “British film and British filmmakers deserve a home now more than ever, a building that will express our optimism, our confidence and our excitement about Britain’s leading role in the future of film, television and the moving image at home and internationally. It will be a place where filmmakers and audiences will come together to be inspired by our creative legacy and to be part of this most fast moving, dynamic and popular art-form.”

Lord David Puttnam said: “British film and TV is the envy of the world. We combine being at the forefront of the latest innovations in technology with a legacy of over 100 years of filmmaking driven by an extraordinary and seemingly endless pool of talent and creativity. Why then do we still not have a 'home' that reflects this? Tate Modern, The Royal Opera House, The National Theatre, The British Museum – every other major art-form have buildings to be proud of and which support their role in delivering culture to the world. This is what British film and TV have long needed and deserved – it’s also the initiative I've waited my whole life to celebrate!” 

See: http://www.bfi.org.uk/international-centre-for-film-tv-and-the-moving-image

The Institute for Photography in Scotland is a newly formed association between The National Galleries of Scotland, The University of Glasgow, The University of St Andrews, Street Level Photoworks, Glasgow, and Stills, Edinburgh.

It aims to enable awareness of and engagement with Scotland’s photography, both nationally and internationally, and to promote collaboration amongst member bodies.One of its objectives is to carry details of photography events taking place in Scotland. 

See more: http://www.institutephotographyscotland.org/