Blogs

Sir 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:

Michael 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.

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.

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

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

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.  

The year 2015 marked the bicentenary of the birth of Calcutta-born photographer Julia Margaret Cameron.  In eight short statements, researchers and curators will reflect on the status of the Victorian photographer in the history of photography at large while also using her work as a springboard to think about the present and the future of an increasingly globally conceived historical field. Besides historiographical contributions, some speakers will contemplate on their previous research on Julia Margaret Cameron and how they see it today, while others will present new insights, for example on Cameron’s colonial work made in Ceylon or her intellectual connections with networks of scientists, artists and collectors.
 
Chaired by Geraldine Johnson and Richard Ovenden, with contributions by Mirjam Brusius, Elizabeth Edwards, Nichole Fazio-Veigel, Colin Ford, Pamela Roberts, Larry J. Schaaf, Emilia Terracciano and Marta Weiss.

Venue and Time: Weston Library, Broad Street, Oxford 20 January 2016, 2-5 pm
 
Tickets are free, but space is limited, so please register to attend: http://www.bodleian.ox.ac.uk/whats-on/upcoming-events/2016/jan/photography
 
This symposium will feature a small display: Julia Margaret Cameron: The Henry Taylor Album
 
The photographs of Victoria photographic pioneer Julia Margaret Cameron (1815-1879) can be found in a number of albums held at the Bodleian Library, amongst it an album, which she had compiled for Sir Henry Taylor. But beyond her friendship with the dramatist the Calcutta-born photographer was connected to a wide range of 19th-century artists and savants. Some of these friends received albums as gifts specifically compiled for them while others collected her photographs for pleasure or as a means of support of the contested photographer. This small display showcases works by Cameron, supplementing the Taylor Album by letters and further photographic items. Tracing the individual histories of these objects reveals much about the movement of photographs over decades and about the intellectual ownership networks in which they circulated.
 

The science Museum has announced the latest in its series of Research Seminars. They are open to students, museum professionals and academics with an interest in the history of science, technology, engineering, medicine and maths; museums, their audiences and collections. Of particular note, on 15 March, Ella Ravilious will discuss Photography at the South Kensington Museum/V&A. 

The South Kensington Museum (later renamed the Victoria and Albert Museum) made, used and collected photographs from its earliest beginnings in the 1850s through to the present. This activity had many purposes and the photographic prints were viewed and used in myriad ways. The photographs of art objects and artefacts made by the Photographic Studio and the photographs collected by the National Art Library, the Circulation Department and the Photographs Collection together constitute a formidable resource. The shared photographic history between the Science Museum and the V&A is rich and include connections which are still coming to light today.

All seminars take place between 1-2pm in the Dana Study, Dana Research Centre and Library, 165 Queen’s Gate. Bring a packed lunch. 

The opportunity to digitize a collection such as ours is an amazing thing. It allows for material of local and national interest to be preserved for posterity and to be shared on the internet with a whole world of people who would otherwise have no access to such a unique collection. For us, as researchers of the sitters and places depicted, it enables the access and identification of sources in faraway places that could potentially uncover information otherwise out of our grasp. In our case, these fragile glass plates could so easily have been lost, but even after their rescue and relocation to the Sutton Archives in 1978 they remained stored away, uncatalogued and largely unknown for close to 40 years. The nature of this collection and its fragile state means it is unlikely that they would ever have been ‘available’ to the public without the opportunity that digitisation offers. Digitisation will not only preserve them for posterity, it will bring them back to life. But of course, as with many opportunities of this sort, you only get one chance to get things right. The kind of investment that is required for a project of this type, both financial, and of time and commitment means that there are a number of things of which we must remain aware and must be careful to avoid or take into account.

Read the rest at https://pastonglass.wordpress.com/

The Hidden Lane Gallery, Glasgow is showing this work by the Scottish-Canadian photographer Margaret Watkins until the 21st February 2016. The gallery is open Tue-Sat 1100-1700. The work has not been seen before.

07760 669011

1081 Argyle St,

Finneston,
Glasgow.
G3 8LZ

I can recommend the Hidden Lane Tearoom to visitors desiring refreshment - ask for directions from the gallery as it is indeed well hidden!

Photo%20Seminar%20poster-HT%202016.pdf

Hilary Term 2016

Tuesdays (Weeks 1, 3, 5 and 7) – 12:30pm - 2pm*

Co-organizers: Mirjam Brusius & Geraldine Johnson

January 19th (Tuesday, Week 1) – 12:30pm -- 2pm:

Portraiture and Time: The Photographs of Edward S. Curtis

Shamoon Zamir, NYU Abu Dhabi

Location: Dept. of History of Art, Littlegate House, St Ebbes

February 2nd (Tuesday, Week 3) – 12:30pm – 2pm:

The Engraved Photograph, the Victorian Periodical and the Nature of Photographic Trust

Geoff Belknap, University of Leicester

Location: Dept. of History of Art, Littlegate House, St Ebbes

February 16th (Tuesday, Week 5) – 12:30pm – 2pm:

From Documentary to Abstract Photography: Aaron Siskin’s Aesthetic Transformation

Richard Howells, King’s College London

Location: Dept. of History of Art, Littlegate House, St Ebbes

March 1st (Tuesday, Week 7) – 12:30pm – 2pm:

Site Visit—Photography at the Sackler Library:

Eadweard Muybridge’s ‘Animal Locomotion’

Martin Kemp and Kelley Wilder in conversation

Location: Sackler Library, St John Street

Register to book a place** (limited places—only 8 can attend)

*Please bring your own lunch for informal conversation from 12:30pm to 1pm.

Formal presentations will begin at 1pm and finish by 2pm.

 **To register for the Sackler Library site visit, please go to: www.hoa.ox.ac.uk/events

Co-sponsored by Dept. of History of Art (Centre for Visual Studies) and Bodleian Libraries

I'm looking for some help to learn more about the two photographs pictured here. One is inscribed: "Photography by Bernard Alfieri / Fantastic Figures by S.M. Sulton" or possibly "Sutton."  Bernard Alfieri was a British photographer (1860-1839), mostly a Pictorialist, but these could also quite possibly be by his son, also named Bernard Alfieri, also a photographer.

This one-day conference at the Victoria and Albert Museum, London, will present new research on the pioneering photographer Julia Margaret Cameron's social, religious, colonial and artistic contexts.

International speakers will explore themes such as Cameron’s experimental techniques and exchanges with other artists and her lasting impact and relevance for contemporary practitioners.

http://www.vam.ac.uk/whatson/event/5919/julia-margaret-cameron-at-200-275264027/

Friday 15 January 2016, 10am-5:15pm, Victoria and Albert Museum, London

This conference is organised in conjunction with the V&A exhibition 'Julia Margaret Cameron', on view until 21 February, 2016 (http://www.vam.ac.uk/content/exhibitions/julia-margaret-cameron/).

In a blog posting the New York Public Library announced that out-of-copyright materials in NYPL Digital Collections would be available as high-resolution downloads and, in its words 'No permission required, no hoops to jump through: just go forth and reuse!' 

The release of more than 180,000 digitized items represents both a simplification and an enhancement of digital access to a trove of unique and rare materials: a removal of administration fees and processes from public domain content, and also improvements to interfaces — popular and technical — to the digital assets themselves. Online users of the NYPL Digital Collections website will find more prominent download links and filters highlighting restriction-free content; while more technically inclined users will also benefit from updates to the Digital Collections API enabling bulk use and analysis, as well as data exports and utilities posted to NYPL's GitHub account. These changes are intended to facilitate sharing, research and reuse by scholars, artists, educators, technologists, publishers, and Internet users of all kinds. All subsequently digitized public domain collections will be made available in the same way, joining a growing repository of open materials.

To encourage novel uses of the NYPL's digital resources, it is also accepting applications for a new Remix Residency program. Administered by the Library's digitization and innovation team, NYPL Labs, the residency is intended for artists, information designers, software developers, data scientists, journalists, digital researchers, and others to make transformative and creative uses of digital collections and data,and the public domain assets in particular. Two projects will be selected, receiving financial and consultative support from Library curators and technologists.

To provide further inspiration for reuse, the NYPL Labs team has also released several demonstration projects delving into specific collections, as well as a visual browsing tool allowing users to explore the public domain collections at scale. These projects, which suggest just a few of the myriad investigations made possible by fully opening these collections, include:

• a "mansion builder" game, exploring floor plans of grand turn-of-the-century New York apartments; 
• a then-and-now comparison of New York's Fifth Avenue, juxtaposing 1911 wide angle photographs with Google Street View; and
• a "trip planner" using locations extracted from mid-20th century motor guides that listed hotels, restaurants, bars, and other destinations where Black travelers would be welcome.

The public domain release spans the breadth and depth of NYPL's holdings, from the Library's rich New York City collection, historic maps, botanical illustrations, unique manuscripts, photographs, ancient religious texts, and more. Materials include:

• Berenice Abbott's iconic documentation of 1930s New York for the Federal Art Project
• Farm Security Administration photographs by Walker Evans, Dorothea Lange, Gordon Parks, and others
• Manuscripts of American literary masters like Walt Whitman, Henry David Thoreau, and Nathaniel Hawthorne
• Papers and correspondence of founding American political figures like Alexander Hamilton, Thomas Jefferson, and James Madison
• Sheet music for popular American songs at the turn of the 20th century
• WPA-era lithographs, etchings, and pastels by African American artists
• Lewis Hine's photographs of Ellis Island immigrants and social conditions in early 20th century America
• Anna Atkins' cyanotypes of British algae, the first recorded photographic work by a woman (1843)
• Handscrolls of the Tale of Genji, created in 1554
• Medieval and Renaissance illuminated manuscripts from Western Europe
• Over 20,000 maps and atlases documenting New York City, North America, and the world
• More than 40,000 stereoscopic views documenting all regions of the United States 

Visit nypl.org/publicdomain for information about the materials related to the public domain update and links to all of the projects demonstrating creative reuse of public domain materials. 

Person Specification

Qualifications

• A Postgraduate degree in art history/history of photography or related field, with a specialisation in photography and/or new media, or an equivalent combination of qualification and experience.

• Ph.D. in art history / history or equivalent expertise of art is desirable.

• At least three year’s relevant work experience within a museum or gallery environment working on displays or exhibitions.

• An understanding and engagement with interpretation practices and a willingness to work directly with staff across the Gallery to generate and deliver changes to interpretation.

• Experience of and enthusiasm for giving gallery talks and presentations to the public and among peers and writing text for a general public audience.

• Experience of managing junior staff.

• The ability to speak with authority about lens-based media, as well as trends and key figures in the history of photography as they pertain to NPG collections from the 19^th century to the present.

• A strong interest and excellent knowledge of British art, history and portraiture in the given period.

• Excellent written and verbal communication skills, the ability to copy edit text to a high standard of accuracy, write up research and edit existing texts producing clear and engaging copy for a public audience.

• A commitment to undertake academic research in a relevant field and evidence of research outputs.

• An interest in and knowledge of a variety of different types of museum interpretation and commentary including in gallery texts, web microsites, blogs, digital in gallery texts, social media etc.

• Training or interest in new media (film, video, electronic media).

• Well-developed interpersonal skills, the ability to support the Head of Photographs and work on their own initiative, co-ordinating and liaising with other curatorial staff, and staff across the Gallery.

• Exemplary research skills using published and primary art historical sources and familiarity with online research databases on history, biography and art.

• Excellent organisational, research and planning skills, coupled with the ability to work calmly under pressure, meet tight deadlines and retain excellent attention to detail.

• Good computer literacy with databases, a variety of IT packages (Word, Excel, PowerPoint etc.) and the ability to generate image spreadsheets from collections databases.

• A good eye for design and an understanding of the issues in designing displays and hanging works of art.

Other

• A demonstrable interest and commitment to the work of the National Portrait Gallery and an awareness of the demands and responsibilities of a National Museum collection.

• A genuine and demonstrable interest in the practice of interpretation and audience development within museums.

• Ability to research and develop the biography of the sitters and artists providing insight into photographic compositions and their history and significance.

• Willingness to stay up to date with contemporary developments in photography and new media and desire to explore future trends.

• The post may require occasional evening and weekend work as agreed.

Period of Appointment

This is a permanent post.

Hours

Your contracted hours of work will be 40 hours (5 days) per week, from Monday to Friday, including a lunch break of one hour a day.

Salary

The salary for this post will be £27,849 per annum.

Annual Leave

Your annual leave allowance is 25 days per annum, rising to 29 days at the start of the annual leave year following completion of five years’ service, and up to 33 days after 10 years service.

Place of Work

Most of the work is based in the Gallery at St Martin’s Place, but all staff are required to work at other locations if necessary.

Equality

The Gallery believes in the employment and advancement of people solely on their ability to do the job required.  When recruiting people, we will therefore disregard their gender, marital status, race, age, colour, nationality, ethnic origin, religion and sexual orientation.  There will be no unfair discrimination on the basis of disability.  If you would like to submit your application in a different format we are happy to allow this.  Please contact us (telephone: 020 7306 0055 email: personnel@npg.org.uk) so that we may discuss suitable alternatives.

Pension

Pension benefits are provided under the Principal Civil Service Pension Scheme (PCSPS).

Probation and Trial Period

All appointments are subject to satisfactory employment and character references, security clearance and eligibility to work in the UK. There is a probationary period of 1 year for all permanent posts. The probationary period for this post is 12 months.

Data Protection Act

Information provided by you as part of your application will be used in the recruitment process.  Any data about you will be held securely with access restricted to those involved in dealing with your application in the recruitment process.  Once this process is completed the data relating to unsuccessful applicants will be stored for a maximum of 6 months and then destroyed.  If you are the successful candidate, your application form will be retained and form the basis of your personnel record.  Information provided by you on the Equal Opportunities Monitoring Form will be used to monitor the National Portrait Gallery’s equal opportunities policy and practices.  By signing and submitting your completed application form you are giving your consent to your data being stored and processed (if you submit your application by e-mail and the application form is un-signed we will assume that consent by you is given) for the purpose of the recruitment process, equal opportunities monitoring and your personnel record if you are the successful candidate.

Season Tickets

Interest free loans are available for the purchase of a season ticket for travel to work.

Please return your completed application form to:

Personnel at: personnel@npg.org.uk

Or by post

Caroline Speed
Head of Personnel
National Portrait Gallery
2 St Martin’s Place
London
WC2H 0HE

By 9am on Wednesday 20 January 2016.

We are expecting to hold interviews on Friday 29 January, 2016. Please indicate on your form if you are unavailable on this date. Please indicate on the form if you will not be available on any particular days during this week.  

If you are delivering your application by hand, please take it to the reception desk at 39-45 Orange Street.

To ensure the best possible use of our limited resources we are unable to respond to every application.  If you have not had a response to your application by 12 February, 2016, please assume that you have been unsuccessful on this occasion.

We would like to thank you for your time and effort in returning your application.

Hello, I have an odd request. I am considering getting a tattoo of the London Stereoscopic company CDV back mark. I have been obsessed with this graphic for some time, but don't have a decent copy of it, and the images I can find online are of poor quality.

I was wondering if any members here could provide me with a high resolution scan or image of this back mark:

Many thanks in advance,

David

Bearnes Hampton & Littlewood of Exeter is offering a selection of photographs from Herbert Ponting, Noel Chanan, Lewis Hine and Cecil Beaton on 19 January 2016. The lots can be viewed on its website www.bhandl.co.uk  in the Picture Section of the January Two Day Fine Art Sale [FS29] or through the link http://www.bhandl.co.uk/sales/assets/FS/2016/01/19/FS190116-pictures.pdf

Image: Herbert George Ponting [1870-1935], Giant Bamboos of Peradeniya, Ceylon, carbon print.

Society “Liber pro arte” in collaboration with Polish Association of Photography Historians and a yearly journal Dagerotyp is organizing an international conference Discovering “Peripheries”: Photographic Histories in Central and Eastern Europe which aims to explore the wealth of photographic practices in the region now commonly referred to as the former Communist bloc. As, generally speaking, photography in this part of the world has been understudied, the conference intends to promote discussion on its cultural, social and political characteristics in contexts such as national and state ideology, art, museums, education, business, everyday life and journalism.The event will be held from 31 May-1 June 2016 in Warsaw, Poland.

The organisers welcome applications from all disciplines and career stages for 20 minutes papers. Abstracts of no more than 300 words should be sent by 15 February 2016 to conference2016@liberproarte.eu 

For further information regarding the call for papers: http://liberproarte.eu/?page_id=422

De Montfort University's Photographic History Research Centre has announced its Spring term seminars. They are held on Tuesdays from 4-6pm, Hugh Aston Building, and are free and open to all.

‘Type-cast?’: Rethinking Studio Photography in the Hill Stations of British India
January 19    (Hugh Aston 2.08)
Professor Clare Harris (University of Oxford)

It is well known that from the 1860s onwards, individuals from all over the Indian subcontinent were photographed and classified according to ethnic, religious, and caste criteria, and thereby reduced to ‘type’ within the colonial anthropological project. This paper examines a parallel but neglected phenomenon of the late nineteenth century: the production of ‘type’ photography in commercial studios in the Himalayas and its reception in the ‘visual economy’ of the British Empire. By paying close attention to the activities and outputs of photographic studios and considering them as sites of transcultural encounter rather than of strict segregation between coloniser and colonised, I seek to reverse the process of ‘type’-casting that was inflicted on the local actors who performed within them.

Personal wartime photography in Egypt, 1898—1918 
February 16  ( Hugh Aston 2.08)
Paul Fox (University of York)   

Historians of the First World War have recently turned their attention to ‘personal photography’: the taking of photographs with privately owned portable cameras, and the disposal of the resulting prints in personal photograph albums or collections. The paper will contest the notion that this wartime phenomenon was without precedent by comparing First World War practice in Egypt with the way early portable cameras had been employed by British officers participating in the 1898 campaign to defeat a jihadist uprising in Sudan.

The paper will examine how privately owned portable cameras were used in the Sudan, and trace the public afterlife of photographs returned to Britain. It will then turn to the personal photography of members of the Royal Flying Corps based in Egypt during the First World War. It will explore the impact of the proliferation of camera use to include soldiers of all ranks, not least the potential to present life on active service from new social perspectives.

Travelling Memories: the Boissonnas photo-albums Salonique et ses basiliques (1913) and Smyrne (1919) 
March 15  (Hugh Aston 4.15)
Dr Colette Wilson  (University of Westminster)  

Two photograph albums by the Swiss photographer Frédéric Boissonnas and his son Edmond-Edouard, Salonique et ses basiliques (1913) and Smyrne (1919), capture Salonica (Thessalonika) and Smyrna (Izmir) at crucial turning points in their histories before a chain of events ignited Greek and Turkish nationalism leading to their near destruction. While maintaining an awareness of the ‘locatedness of memory’ within a national context (Radstone), the albums, with their clear focus on Greek-Christian national identity and heritage, arguably function as carefully designed propaganda tools, the aim of which was to create a memory that would travel transculturally (Erll) around the world gaining support for Greece which hoped to unite all the Ottoman lands with Greek populations into a single Greek state, whose capital would be Constantinople. Greece’s ‘Great Idea’ may have died in the flames of Smyrna, but it lives on in the Boissonnas albums and their online presence.

Contact in case of queries: Professor Elizabeth Edwards eeddwards@dmu.ac.uk/ Dr Kelley Wilder kwilder@dmu.ac.uk

The Royal Photographic Society's Historical Group presents the Society's Hurter and Driffield Memorial lecture which this year will be given by Dr Sam Weller FRSA who will be talking about: Kodak Moments: A look through the rear view mirror. Sam was formerly  Director of the Kodak European Research Laboratories in Cambridge.

The lecture takes place in London on 26 January 2016 from 5.30pm.

See more here: http://rps.org/events/2016/january/26/hurter--driffield-memorial-lecture

The work of photographer Frank Hurley is used on eight new stamps being issued by the Royal Mail on 7 January 2016. The set is being issued to commemorate Ernest Shackleton's polar voyage of 1914-1916. Shackleton's ship Endurance became stuck in ice and Shackleton with six companions then braved a voyage of 720 nautical miles in an open boat to the whaling stations of South Georgia to get help for his crew. They were finally rescued in August 1916.

The stamps' images have been created from the original glass photographic plates held by the Scott Polar Research Institute, Cambridge, and the Royal Geographical Society, London, and taken by Hurley.   the Mint Stamps feature eight scenes captured by pioneering photographer Frank Hurley. The subjects are: Entering the Antarctic Ice 1st Class, Endurance Frozen in Pack Ice 1st Class, Striving to Free Endurance £1.00, Trapped in a Pressure Crack £1.00, Patience Camp £1.33, Safe Arrival at Elephant Island £1.33, Setting Out for South Georgia £1.52, and Rescue of Endurance Crew £1.52

See more here 

The Historical Group of The Royal Photographic Society has arranged another of its popular - and useful - Research Days on Saturday, 9 January 2016 at the School of Arts, Birkbeck, University of London. The day will consist of more than twelve speakers presenting short papers about their research and work in progress. Topics range from Arthur Marshall, Isabella Bird and George Washington Wilson, to Simla and daguerreotypy amongst many others. 

The day will be of interest to anyone interested in researching photographic history, students and genealogists.  Places are limited. To book a place click here: http://www.rps.org/events/2016/january/09/research-day

This new publication by Steven F Joseph is the first comprehensive and richly illustrated overview of historical Belgian photographic literature. It presents comprehensive survey of both of illustrated books and of technical publications. It makes a major contribution to academic study in the field, with a corpus composed of 681 entries and, for each title, indicates locations of surviving copies in institutional collections in Belgium and elsewhere. An introductory essay plots the development of photographic publishing in Belgium, making full use of primary and secondary sources. An album of over eighty images draws on the rich iconography of early Belgian photographic literature, most reprinted for the first time. It is published in English and French. 

440 pages, €69,50, published by Leuven University Press. 

For more information, including a full table of contents and sample pages see: http://upers.kuleuven.be/en/book/9789462700475