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Exhibition: Grafters: industrial Britain

12201026071?profile=originalPhotographer Ian Beasley has brought together a collection of mostly unseen and unpublished images of 19th, 20th and 21th century industrial Britain for a new exhibition of photographs at the People’s History Museum (PHM), from 6 February-14 August 2016.

Grafters depicts how the camera has captured Britain’s industrial workers. The photographs Beesley has discovered reveal the changing and challenging relationship between photographer and subject. At times workers were reduced to mere Units of Scale, instructed to stand next to industrial machinery to demonstrate its size. At other times the working class were elevated to heroes, symbolic representations of their entire class.   Latterly workers became the photographers themselves, directing and shooting pictures of their own lives, seen through their own lens.

The story begins with the early adopters of this new technology in the mid-1800s, it was aligned to drawing and painting; a scientific continuation of traditional image making; the prerogative of wealthy gentlemen amateurs who sought out the picturesque romantic and classical.  The brutal industrialisation that that surrounded them had no place in their new image making process and largely accounts for the failure of early photography to capture the emergence of the working class.

The photographs clearly demonstrate that images that happen to include workers, is entirely accidental or incidental. The tens of thousand of workers who built the industrial might of the Victorian age often only appear as blurs, distractions and intrusions.

The exhibition goes on to look at the way workers later become a convenient and familiar unit of scale in commercial pictures of steam engines, industrial processes, machinery and buildings; and how in the late 18th Century, images of industrial landscapes saw machines of the industrial revolution become the ‘eye catchers’ in the landscape.

Workforce group photographs also feature as part of this photographic story, military-style line up pictures that become more predominant as the industrial workforce was seen as comparable to that of a military force during WW1, as well as being a patriotic reminder to women as to where their duty lay.  This leads into the heroic realism imagery associated with the propaganda art of the USSR and Germany in the 1930s, that was adopted by Western democracies to promote their aims during the Second World War and continuing into the 1950s in Great Britain to support the rebuilding of Britain.

Grafters also documents the rise in workers recording their own working lives, from the perspective of the insider giving way to a whole new era of social documentary photography.  Then as British industry went into decline, it examines the trend for photographers to journey to the gritty North for their bleak post industrial ruins, contributing to this stereotypical image of the North.

Chris Burgess, curator at The People’s History Museum says, “When Ian suggested this exhibition to PHM we were excited. At its heart is the worker, but what the worker actually represents changes throughout the images on show. Initially we saw the exhibition as one of history, charting working lives in a Britain that now seems distant. However, on seeing the exhibition it quickly becomes apparent that Grafters is so much more than a memorial to industrial life, it offers an evolutionary record of working life. The exhibition’s most recently taken photograph is from 18 December, 2016 of the last shift from Kellingley, the last deep pit in the UK. With the final death of coal mining, and seemingly ever more redundancies in steel industry, Grafters questions what the term work and pride in it means in 21st century Britain.

To accompany the exhibition’s images, the museum has commissioned a series of new poems from writer, poet and broadcaster; Ian McMillan, creating a voice for the unknown people featured in the photographs as they go about their daily work.

Selected from important photographic archives across the North of England, many of the photographs represented are unknown or unnamed and will have never been exhibited before.  

Grafters: Industrial Society in Image and Word opens on 6 February-14 August 2016 and is free entry www.phm.org.uk

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Exhibition: Grafters: industrial Britain

12201026071?profile=originalPhotographer Ian Beasley has brought together a collection of mostly unseen and unpublished images of 19th, 20th and 21th century industrial Britain for a new exhibition of photographs at the People’s History Museum (PHM), from 6 February-14 August 2016.

Grafters depicts how the camera has captured Britain’s industrial workers. The photographs Beesley has discovered reveal the changing and challenging relationship between photographer and subject. At times workers were reduced to mere Units of Scale, instructed to stand next to industrial machinery to demonstrate its size. At other times the working class were elevated to heroes, symbolic representations of their entire class.   Latterly workers became the photographers themselves, directing and shooting pictures of their own lives, seen through their own lens.

The story begins with the early adopters of this new technology in the mid-1800s, it was aligned to drawing and painting; a scientific continuation of traditional image making; the prerogative of wealthy gentlemen amateurs who sought out the picturesque romantic and classical.  The brutal industrialisation that that surrounded them had no place in their new image making process and largely accounts for the failure of early photography to capture the emergence of the working class.

The photographs clearly demonstrate that images that happen to include workers, is entirely accidental or incidental. The tens of thousand of workers who built the industrial might of the Victorian age often only appear as blurs, distractions and intrusions.

The exhibition goes on to look at the way workers later become a convenient and familiar unit of scale in commercial pictures of steam engines, industrial processes, machinery and buildings; and how in the late 18th Century, images of industrial landscapes saw machines of the industrial revolution become the ‘eye catchers’ in the landscape.

Workforce group photographs also feature as part of this photographic story, military-style line up pictures that become more predominant as the industrial workforce was seen as comparable to that of a military force during WW1, as well as being a patriotic reminder to women as to where their duty lay.  This leads into the heroic realism imagery associated with the propaganda art of the USSR and Germany in the 1930s, that was adopted by Western democracies to promote their aims during the Second World War and continuing into the 1950s in Great Britain to support the rebuilding of Britain.

Grafters also documents the rise in workers recording their own working lives, from the perspective of the insider giving way to a whole new era of social documentary photography.  Then as British industry went into decline, it examines the trend for photographers to journey to the gritty North for their bleak post industrial ruins, contributing to this stereotypical image of the North.

Chris Burgess, curator at The People’s History Museum says, “When Ian suggested this exhibition to PHM we were excited. At its heart is the worker, but what the worker actually represents changes throughout the images on show. Initially we saw the exhibition as one of history, charting working lives in a Britain that now seems distant. However, on seeing the exhibition it quickly becomes apparent that Grafters is so much more than a memorial to industrial life, it offers an evolutionary record of working life. The exhibition’s most recently taken photograph is from 18 December, 2016 of the last shift from Kellingley, the last deep pit in the UK. With the final death of coal mining, and seemingly ever more redundancies in steel industry, Grafters questions what the term work and pride in it means in 21st century Britain.

To accompany the exhibition’s images, the museum has commissioned a series of new poems from writer, poet and broadcaster; Ian McMillan, creating a voice for the unknown people featured in the photographs as they go about their daily work.

Selected from important photographic archives across the North of England, many of the photographs represented are unknown or unnamed and will have never been exhibited before.  

Grafters: Industrial Society in Image and Word opens on 6 February-14 August 2016 and is free entry www.phm.org.uk

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12201030291?profile=originalThe Museum of Modern Art has launched Seeing Through Photographs, its first massive open online course (MOOC) for a general audience, available on Coursera. Using works from MoMA’s expansive collection as a point of departure, the course encourages participants to look critically at photographs through the diverse ideas, approaches, and technologies that inform their making. Seeing Through Photographs can be found at coursera.org/learn/photography.

Led by Sarah Meister, Curator, Department of Photography, the course introduces learners to first hand perspectives and ideas from artists and scholars about what a photograph is and the many ways in which photography has been used throughout history and into the present day: as a means of personal artistic expression; a tool for science and exploration; a method for documenting people, places, and events; a way of telling stories and recording histories; and a mode of communication and critique in our increasingly visual culture.

The themes for the 6 sessions are: Introduction to Seeing Through Photographs, One Subject, Many Perspectives, Documentary Photography, Pictures of People, Constructing Narratives and Challenging Histories, and Ocean of Images: Photography and Contemporary Culture. Each session has a quiz, and the course has a final project at the end.

The course is free and can be started at any time and completed at the student's own speed. 

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12201029896?profile=originalWith the introduction of the Autochrome process in 1907 colour photography became a possibility for a broad range of photographers.  Its availability created a stir that involved all areas of photography and provoked a heated debate about the fundamental laws and aims of the medium. Especially the Autochrome’s suitability for artistic photography was under attack. Still, some pictorial photographers embraced the newly achieved possibility of colour registration and explored its potential, creating a distinct aesthetic that employed the medium’s characteristics within the framework of pictorialism. This paper discusses examples of pictorial Autochrome photography in the context of the debates on art and colour photography of the time.

All are welcome! However, places are limited, so if you would like to attend please contact our Events Manager, Ella Fleming on events@paul-mellon-centre.ac.uk

This is a free event and lunch is provided.

Caroline Fuchs is a Curatorial Fellow at the Bavarian State Paintings Collections in Munich (Germany) and a lecturer at the department of Art History at University of Vienna (Austria). Recently, she completed her PhD with a dissertation on Colour Values – Autochrome Photography in Britain. She is currently preparing this thesis for publication and has been awarded a postdoctoral Fellowship by the Paul Mellon Centre for this aim. Fuchs is a member of the European Society for the History of Photography’s executive committee. Her latest publication focuses on Gerhard Richter and the Principle of Detail, in: Gerhard Richter. Detail: Paintings from the Böckmann Collection, Exhibition Catalogue Nuremberg (2014).

11 Mar 2016, 12:30 – 2:00 pm

Lecture Room, Paul Mellon Centre, 16 Bedford Square, London WC1B 3JA

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Publication: Dawn of the Photograph

12201027055?profile=originalThe British scientist and inventor William Henry Fox Talbot (1800-1877) pioneered the art of ‘photogenic drawing’ in the 1830s – the method of capturing images using light-sensitive paper and a camera. His experiments with this new medium, ranging from the delicate capture of natural specimens to atmospheric architectural studies, lay the foundations for photography as we know it today. Living and working in the village of Lacock in Wiltshire, Talbot also produced simple, sensitive portraits of his family and friends.

Published to accompany a Media Space exhibition opening at the Science Museum in London on 14 April 2016, this stunning catalogue examines how Talbot’s invention of photography evolved to establish its artistic, scientific and industrial possibilities. Also explored are the relationships within the network of photographers who gravitated towards Talbot’s process, each of whom took photography into different territories.

Featuring 100 high-quality reproductions of Talbot’s work, Dawn of the Photograph is a testament to his magical and industrial visions, as well as his ambitions for photography as a means of mass production.


ISBN: 978 1 78551 053 3
PAGES: 176
PRICE: £27.95, $45
PUBLICATION: 2 June 2016

Dr Russell Roberts is Reader in Photography at the University of South Wales.

Greg Hobson is Curator of Photographs at the National Media Museum in Bradford

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12201030896?profile=originalApplications are invited for an AHRC-funded PhD at the University of Brighton: “Horace Nicholls: artist-photographer at war”. This is offered under the AHRC Collaborative Doctoral Partnership programme. The partner institutions are the University of Brighton and IWM. The studentship will be supervised by Professor Darren Newbury and Professor Francis Hodgson at the University of Brighton, and Hilary Roberts of IWM London. This full-time studentship, which is funded for three years at standard AHRC rates, will begin on 1 October 2016.

Horace W. Nicholls was one of Britain’s best known photographers of the early twentieth century. As one of the world’s first true photojournalists, his work shaped that of succeeding generations. Nicholls reported the 2nd Anglo-Boer War in South Africa. He established legal copyright in photographs in a landmark court case in 1901. He documented the impact of total war on the British people, and, as Britain’s first official photographer on the Home Front, had unique access, particularly to women war workers. After the war, he became the new Imperial War Museum’s Head of Studio (Chief Photographer) where he worked to secure and develop the IWM’s photographic collections and documented the evolution of commemorative activities. Today, many of Nicholls’ photographs are familiar but little is known about the man who took them. There has been no significant research, publication or exhibition of his work for forty years. 2017 will be the 150th anniversary of the birth of Horace W. Nicholls and the centenary of his appointment as the first Ministry of Information Home Front official photographer in the First World War. It is also the centenary of IWM’s request to Government that he create a photographic essay of women’s contribution to the war effort. 

Horace Nicholls’ archive, comprising photographs, sketches, documents and printed materials, is now dispersed and little known – a factor which has contributed to his disappearance from public view. The archive is preserved as part of the Royal Photographic Society collection (pre-1914), by the IWM (for the period 1914-36), and by the Horace Nicholls estate. This project will examine these three collections in the context of the First World War centenary; properly evaluate the achievements of Horace Nicholls; the influences that drove him; and the significance of his legacy in terms of:

  1. The evolution of photography as an international mass medium, a form of international propaganda and commemorative medium.
  2. The development of professional photojournalism.
  3. Photography’s capacity to act simultaneously as a medium of art and information and the consequences of this tension for contemporary understanding of the meaning of modern conflict.
  4. Public understanding of the impact of war on civilians in the early twentieth century.
  5. IWM’s early activities as a collector/commissioner of photography.

See more and apply here: http://arts.brighton.ac.uk/research/doctoral-centre-arts/studentships/horace-nicholls-artist-photographer-at-war

Image: Horace W. Nicolls, British soldiers signalling with flags, First World War, 1914-1918. Image: The Royal Photographic Society Collection / National Media Museum. 

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12201028892?profile=originalThe History and Theory of Photography Research Centre has announced its next series of seminars. They are free and open to all, at 43 Gordon Square, London WC1H 0PD, unless otherwise specified

Wednesday 17 February 2016, 6-7:30 pm

Room B04

Linda Mulcahy (London School of Economics)

Docile Suffragettes? Resistance to Police Photography

​Seminal accounts of the history of photography commonly draw attention to the mugshot as the archetypal documentary visual record in which prisoners are rendered docile.  This paper attempts a revisionist account of the mugshot by looking for evidence of resistance and agency. In doing so it draws on a little discussed campaign in which suffragettes regularly resisted having their photographs taken by prison authorities and discusses the implications of this for the way we view these photographs.

 

Monday 22 February 2016, 5pm

Closing date to apply for the SOAS & BBK Bloomsbury Studentship

‘The John Thomson (1837-1921) Photo Archive: Framing China and South East Asia’ http://www.bloomsbury.ac.uk/studentships/studentships-2016/-the-john-thomson-1837-1921-photo-archive-framing-china-and-south-east-asia-soas-bbk

 

Wednesday 9 March 2016 - 6-7:30

*Clore Building, Room B01, Torrington Square (opposite main building), WC1E 7HX

Jennifer Tucker (Wesleyan University & Birkbeck Institute for Humanities Visiting Fellow)

Picturing Modernization: Vision, Modernity and the Technological Image in Humphrey Jenning's Pandaemonium

 

Thursday 9 June 2016, 6-7:30 pm

Room 112

Luke Gartlan (University of St. Andrews, Editor of History of Photography journal)

Before ‘White Australia’: The Singleton Family Photo Albums and Early Australian-Japanese Relations

 

Monday 27 June 2016, 6-7:30 pm

Room 112

Tim Satterthwaite

Spiritualising the machine: the modernist photography of UHU magazine

 

Saturday 2 July 2016 times and location TBC

Workshop

Law and Photography

In collaboration with London School of Economics

 

Patrizia Di Bello (Dr),
Senior Lecturer, History and Theory of Photography
Birkbeck, University of London,
www.bbk.ac.uk/art-history

www.bbk.ac.uk/arts/research/photography

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12201025872?profile=originalThe seemingly magical process of capturing an image on a light-sensitive surface entranced the Victorian age. This new science and artform, which became known as photography, was created by pioneers from the 1830s onwards. By the late 1850s numerous photographic studios had been established in the county.

This symposium is the first time that a public day event has been devoted to exploring photography in Devon. Its crossover between Science and Art exactly fits the aims of the Devonshire Association, and the programme will reflect this. The morning will include exciting new work on pioneers of photography in Devon, and on the remarkable topographical work in the county of one of the finest national photographers of the mid-19th century, and of his contemporaries. There will also be a challenge to identify Devon scenes photographed in the 1860s as studies for nationally renowned artists. James Davies will give a presentation on the official recording of buildings within the county.

The afternoon will start with a look at the revelatory landscape and social record of Chris Chapman and the late James Ravilious from the 1970s onwards. The day will come full circle with presentations from three contemporary internationally respected artistphotographers inspired by Devon – Garry Fabian Miller, Susan Derges and Jem Southam – whose camera-less techniques or equipment echo that of the very earliest practitioners. Much of the rich visual material and information will be presented for the first time, and the important role of photography in Devon will be more than amply demonstrated.

SCIENCE MEETS ART ASPECTS OF 175 YEARS OF PHOTOGRAPHY IN DEVON
Saturday 9 April 2016. 9.30am (Registration) – 4.30pm Petroc College, Mid Devon Campus, Bolham Road, Tiverton EX16 6SH

The programme and a booking form is available here: http://www.devonassoc.org.uk/whats-on/20160409-Science-meets-art.pdf 

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Research: Curious Crimean War? Soldiers

12201027856?profile=originalHello,I am looking for information on this albumen photo. I assume it is British, and also assume that these are 1850-1860 era uniforms.

A most curious photo: The gentleman seated on the cobblestones is wearing a fur hat, a paisley robe, and holding a dog! This group looks like it is about to hatch a crime spree. There is also the number 5 in the window???

Was wondering if anyone here could identify the uniforms, or any other thoughts about the image. (please let your imagination go wild)

Sorry, but I can not make out the names until I receive the item.12201027898?profile=original12201028300?profile=original

Many thanks in advance!

David

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12201025881?profile=originalCould you work confidently with historical artefacts, catalogues and collections in a museum or gallery setting? We are looking for a motivated individual who has relevant experience to join our Corporate & Collections Information team as a Collections Information Officer. 

The National Media Museum cares for more than 3.5 million significant items, including the collections of National Photography, National Cinematography, National Television and National New Media.

You will be responsible for collections registration tasks to ensure that statutory responsibilities are maintained and delivered, regarding loan or disposal of objects held in the reserve collections. You’ll be based at the National Media Museum and will be working on collection loans out renewals, historic loans and object loans in renewals, as well as object acquisitions and disposals, GIS applications, collections rationalisation, and data cleaning for collections documentation.
Under direction, you will be able to take responsibility for delivering collections registration and collections documentation work, creating records to a good standard in the object database (MIMSY XG). You will work as part of the team to ensure that objects are fully documented and the Museum Group policies are adhered to. You will assist with drafting loan agreements and transfer of title paperwork, and managing the transportation of objects between the museum and borrowers, lenders or new owners. In addition, you will work with other departments within the museum, including those in the Curatorial, Corporate & Collections Information and Conservation & Collections Care teams.

We are looking for somebody who can effectively communicate and negotiate with current lenders and borrowers, balancing tact and diplomacy whilst adhering to our processes. Your attention to detail and ability to juggle a complex workload under time pressure will be second to none. Experience of working with the collections database Mimsy XG will be a distinct advantage. IT fluency is essential. 

You will be self-motivated and able to work effectively within a team, and you will be comfortable communicating with a range of people including colleagues at all levels and external stakeholders. You will be willing and able to take on a wide variety of tasks. Previous experience of collections registration or collections documentation, a working knowledge of the Government Indemnity Scheme and experience in the transportation of objects is essential. 

Salary: £16,500 - £17,500.00

Deadline: 14 February 2016

See more and apply here: https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=1245

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12201035488?profile=originalDominic Winter Auctioneers now invites further entries for their spring Photography auction. We are still seeking good individual vintage photographs, both old and modern, and good Victorian and later albums, raw footage documentary films, vintage cameras, cased images, lantern slides, photographically illustrated books, archives, etc.

Shown here is: Julia Margaret Cameron (1815-1879). Queen Esther fainting before King Ahasuerus, 1865, albumen print, titled in ink by Cameron to original mount, image 13 x 11 inches. Pre-sale estimate £3,000-5,000.

Note the striations still visible in the upper area of this print. These marks are the result of using a damaged negative, as was part of Cameron's working practice. Some versions of this print, including the two miniature ones that have appeared at auction, have had this area of the photograph touched up and the marks removed. See Cox and Ford, 167.

For information and selling advice please contact Chris Albury chris@dominicwinter.co.uk www.dominicwinter.co.uk

12201035488?profile=original

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12201035063?profile=originalThe ICON Photographic Materials Group are pleased to announce that they will be providing funding for one student to attend the ICON Conference 2016 “Turn and Face the Change”. The bursary will cover the conference fee of £225 plus subsistence and travel expenses up to the value of £150.

To apply for funding please submit a 200 word essay explaining what your interest is in photographic materials conservation and how you would benefit from attending the conference. You should be currently enrolled on a conservation or related higher education course – please provide the details of your course and place of study, including your expected graduation date on your essay submission.

The successful student will be expected to write a short article for Icon News and/or the PhMG blog about the conference, focussing on the Book & Paper and PhMG session.

Further details about Icon 16 “Turn & Face the Change: Conservation in the 21st Century” can be found on the Icon website: http://icon.org.uk/about-us/icon-conference-2016

Please e-mail your essay to Rosalind Bos at rosalindbos@yahoo.fr by the 31 March. The successful candidate will be notified by the 11 of April.

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12201024487?profile=originalFollowing the announcement that part of the National Photography Collection is to be transferred to the Victoria and Albert Museum in London, Impressions Gallery confirms that the Impressions Gallery Archive will be staying in Bradford. 

The archive, of over 3,000 artworks and objects, is a significant repository that demonstrates the cultural impact of photography and the vital role that Impressions Gallery has played in raising the profile of the medium in the UK. The Impressions Gallery Archive will continue to be conserved in Bradford alongside other prestigious collections of international significance including the Kodak Collection and the Daily Herald Archive.

Whilst Impressions Gallery is disappointed that the National Photography Collection will be divided between Bradford and London, the Gallery recognises that in the current funding climate, difficult decisions have had to be made to ensure the National Media Museum’s future.

Impressions Gallery Director Anne McNeill said: ‘It has always been important to us that our archive remains as a key resource for photography research in the North of England. The decision to move part of the National Photography Collection to the V&A is just another example of national resources being taken from the regions and going to the capital. We will be sad to lose our valued colleagues and friends in any restructure, and will continue to support the Museum in Bradford’.

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12201024076?profile=originalRoger Watson, curator of the Fox Talbot Museum, is lecturing in the United States and can be seen in a livestream of his lecture on 4 February 2016 at 12.00AM GMT.

AAHD alumnus Roger Watson, BFA 1982, is a curator at Lacock Abbey, Fox Talbot Museum, in Lacock, England, Britain's birthplace of photography. Watson's recent book is Capturing the Light: The Birth of Photography, a True Story of Genius and Rivalry, co-authored by Helen Rappaport. The Fox Talbot Museum celebrates the life and work of William Henry Fox Talbot (1800-77). Fox Talbot created the first photographic negative in 1835, taken of a small window at his home, Lacock Abbey.

See here for more information: http://livestream.com/msualumni/RogerWatson

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12201034074?profile=originalAn historic agreement between the Science Museum Group (SMG) and the Victoria and Albert Museum (V&A) is set to create the world’s foremost collection on the art of photography according to a press release published by the V&A Museum.

  • World’s leading collection on the art of photography to be created at the V&A
  • RPS Collection to move to V&A London
  • National Media Museum to focus on STEM subjects
  • No future national museum of photography

The museums have announced that more than 400,000 objects from SMG’s three-million-strong photography collection, held at the National Media Museum, will be transferred to the V&A. These photographs, cameras, books and manuscript material will join the V&A’s existing collection of 500,000 photographs to create an International Photography Resource Centre. The new Centre will provide the public with a world-class facility to access this consolidated collection, which will become the single largest collection on the art of photography in the world.

The collection being transferred encompasses exquisite vintage prints, the world’s first negative, unique daguerreotypes and early colour photographs, as well as important albums, books, cameras and the archives of major photographers. At its heart is the Royal Photographic Society (RPS) Collection, which charts the invention and development of photography over the last two centuries.
Among the treasures moving to the V&A are works by British pioneers William Henry Fox Talbot, Hill & Adamson, Roger Fenton and Julia Margaret Cameron. The collection also demonstrates Britain’s role as an international hub for photography, with major holdings by artists such as Alfred Stieglitz, Alvin Langdon Coburn, Gertrude Käsebier, Paul Strand and Ansel Adams. Highlights of the consolidated collection will include Oscar Rejlander’s 1857 ground-breaking composite The Two Ways of Life, Mervyn O’Gorman’s intriguing 1913 autochrome Christina, Yusuf Karsh’s iconic Winston Churchill portrait and Angus McBean’s surreal study of Audrey Hepburn alongside works by contemporary photographers including Martin Parr, Sarah Jones, Susan Derges and Simon Roberts.

V&A Director, Martin Roth, said: The V&A and Science Museum Group have shared origins and uniting our complementary collections will create a peerless historical and artistic photography resource. Our ambitious plans for enhancing digital access, collaborative research, touring exhibitions and creating an International Photography Resource Centre will mean that future generations of visitors and researchers will benefit from these examples of the most important artistic developments in artistic photographic history.”

Dr Michael Pritchard, Director-General of the RPS, said: “The RPS has worked closely with the National Media Museum since 2003 to ensure that the world-class RPS Collection of photographs, technology, books and documents from 1827 to 2016 has grown and developed. I am pleased that we can further enhance the RPS Collection’s stature alongside the V&A’s own art photography collection and make it more widely available to the public and scholars and ensuring it remains a prime resource for future generations.  The RPS is extremely fortunate to benefit from the support and expertise of one of the world’s most revered cultural institutions.”

A commitment has been given that the RPS Collection will be retained as a distinct entity and there will be negotiations over the coming weeks to ensure that the the current partnership agreement with the National Media Museum is carried over to the V&A. While the move will prove beneficial in opening up access to the RPS Collection the Society is concerned that the absence of a single institution with the curatorial expertise to collect and interpret all aspects of photography beyond its art will lead to a selective and narrow appreciation of photography that existed before the formation of the National Media Museum in 1983 when the V&A and Science Museum worked independently.

There will be challenges for the V&A which houses the national collection of art photography to deal with photographic technology and science that forms a key part of the RPS Collection. The Society will be keen to see the V&A expand its remit to take responsibility for the National Photography Collection. There will be further announcements over the coming weeks regarding the transfer, timings and impact on the other collections held at the National Media Museum and senior curatorial staff have entered a period of consultation regarding their jobs. 

Once transferred, the collection will be stored, digitised and made accessible for study. In the short term, the permanent gallery space dedicated to photographs at the V&A will be doubled. A second phase will see the opening of an International Photography Resource Centre to provide unprecedented opportunities for access, collaborative research and education with this unrivalled collection. As part of the agreement, the V&A will work closely with SMG to give access to the transferred collections for future scholarship and exhibitions.

12201034270?profile=originalThe National Media Museum in Bradford – one of the four museums that make up SMG – is refocusing its photography collections to align with its own strategic emphasis on the science, technology and culture of light and sound. The National Media Museum will retain the collections which support an understanding of the development of photographic processes (such as the Kodak Museum collection), the ongoing cultural impact of photography (such as the Daily Herald archive) as well as photographic archives that have specific relevance to Bradford (such as the Impressions Gallery archive). A new £1.5 million interactive light and sound gallery is due to open in March 2017.

See more here: http://www.rps.org/news/2016/january/rps-collection-to-move-to-vanda-london

There is more background relevant to Bradford here: http://www.thetelegraphandargus.co.uk/business/14244537.National_Media_Museum_to_lose_part_of_its_art_of_photography_collection/

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12200971657?profile=originalThe National Media Museum is developing an exciting new interactive gallery, in keeping with its core mission to explore the science and culture of image and sound technologies and their impact on our lives. Reporting to the Head of Content for the new interactive gallery, the post holder will research and develop an engaging learning programme to support this gallery.

The new gallery will be a hands-on, immersive environment containing around 25 physical interactive exhibits and a fully equipped events space. The target audience is children between the ages of 7 and 14, with accompanying adults (school and family groups). The new learning programme will consist of science shows and gallery extension learning activities, and will be supported by pre and post visit learning resources and activities for teachers and parents. All elements of the project will be themed around light, sound and perception, the key scientific principles that underpin the Museum collections.

You will be responsible for researching science and technology content and translating this into an engaging learning programme; sourcing all associated props and materials; and training the Learning Team to deliver the new programme. You should have experience of researching content, developing learning resources and presenting educational shows or workshops. You will understand learning in an informal environment such as a museum and have an awareness of potential barriers to learning.

Job Description:
National Media Museum, Bradford
Learning Programme Developer – Interactive Gallery 
Full time: 35hrs per week 
Salary: £17,000 - £18,000 pro rata 
Fixed Term: 10 months (March to December 2016)
 
Application Instructions:
To apply please visit:

https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=1224

Closing date: 11.59pm Sunday 31st January 2016
Interview date: 12th February 2016
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12201031867?profile=originalSir Kenneth Corfield, the designer of the Corfield Periflex series and, later, the WA77 and Architect cameras, died on 11 January, aged 91 years. With Brian Gould he ensured that the Gandolfi company survived. He enjoyed a successful career in business as chairman and chief executive of STC. He was a life member of the Royal Photographic Society. Amateur Photographer carries a short report here: http://www.amateurphotographer.co.uk/latest/photo-news/sir-kenneth-corfield-founder-of-last-successful-british-camera-range-dies-aged-91-68993:

12201032053?profile=originalMichael Pritchard writes...I first met Sir Ken in the 1980s when would attend the camera auctions at Christie's. Despite his role as a leader of industry he was always an engineer at heart as epitomised by his Corfield camera - the last commercially successful British camera range. Sir Ken was always friendly and helpful and willing to answer questions on his cameras. He remained fascinated by camera technology long after the final Corfield camera was sold and combined his technical background with that of an historian to great effect. For many of us his great legacy will be the Periflex camera.

Please comment with your own memories of Sir Ken. 

Image, top right: © reserved; collection National Portrait Gallery, London.

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Another exhibition to mark the bicentenary of the birth of Julia Margaret Cameron (1815-1879) from the same source (the Victoria and Albert Museum) as the exhibition I travelled up to Sydney to review last year.

I am always ecstatic when I see her work, no more so than when I view images that I have not seen before, such as that dark, brooding slightly out of focus portrait of William Michael Rossetti (1865) or the profusion of delicate countenances and gazes that is May Day (1866).

The piercing gaze of Julia Jackson (1867, below) always astounds, as though she is speaking to you, directly, from life. The r/evolutionary English naturalist and geologist Charles Darwin (1868, below) is pictured - no, that's the wrong word - is materialised before our eyes at the age of 59 (looking much older), through low depth of field, delicate tonality and the defining of an incredible profile that imbues his portrait with the implicit intelligence of the man. I would have loved to have known what he was thinking.

See the full posting at http://wp.me/pn2J2-7Dw

Dr Marcus Bunyan

Many thankx to the Victoria and Albert Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

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Julia Margaret Cameron
Julia Jackson
1867
Albumen print
© Victoria and Albert Museum, London

 

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Julia Margaret Cameron
Charles Darwin
1868, printed 1875>
Albumen print
© Victoria and Albert Museum, London

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Whilst researching for my proposed book on "Cuthbert Bede" I just happened to try John Moyer Heathcote on the 'net (although I have already a substantial amount of information on him; he was a friend of "Bede" whilst the latter was curate of the combined parishes of Holme-with-Glatton 1850-54) - and up popped, under the British Photographic History site, a quite indistinct photograph by JMH taken c.1852, which the blogger (or anybody else) had no knowledge of its locality - thinking it might be a fen parish. It immediately roused my interest - as it looked very familiar to me instantly. I'm 99.9% certain that it is the parish church of All Saints' Elton, Cambridgeshire (formerly Huntingdonshire). I quickly compared it with a postcard photo I have (1912) taken from virtually the same angle, which confirmed my belief. I will shortly post this 1912 photo. I have in my collection, since the 1970s, a print of another photograph which JMH must have taken during the same visit (Conington is a good twelve miles from Elton), this is of Elton watermill. It shows attached to the end of the mill, the miller's thatched cottage, which was taken down in the 1880s; I will also post this too. Hope this proves noteworthy.  

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