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The photograph and Australia is the story of the interactions between people and country, and their representations in photography. The exhibition explores how photography operates aesthetically, technically, politically, and in terms of distribution and proliferation, in the Australian context. The arrival of photography in the 1840s parallels the development of the colonies and relationships with Indigenous Australians. Importantly, the photographs sent to World expositions in the 19th century present an evolving image of the nation. Indeed, in this exhibition, 19th century photography is seen as the foundational wellspring of this country.

Taking a thematic rather than chronological approach, The photograph and Australia looks at how the photograph images people and place in wonderful and marvellous ways. Clusters of photographs highlight the dialogue between photographer and subject, the construction of place, exploration, depictions of family and personal relationships, the interactions between settler and Indigene, as well as the distribution, collecting and classifying of images.

The dialogue between art, photography and scientific endeavours is crucial, as is the relationship, played out in photographs, between self and nation. The dynamic exchanges between the professional studio or amateur photographer and their subjects, and distributor and collector, are explored. These are, in part, built on the technological evolution of the medium, which has enabled such exceptional reach and constant adaptation that within the space of 175 years the image has become as pervasive and powerful as the written word.

The exhibition consists of work by photographers such as George Goodman, Thomas Bock, Richard Daintree, William Hetzer, Thomas Glaister, Louisa How, Frederick Kruger, CA Woolley, Charles Bayliss, JW Lindt, Paul Foeslche, Baldwin Spencer, Frank Hurley, Melvin Vaniman, Harold Cazneaux, RC Strangman, Frances Perrin, Olive Cotton, Max Dupain, Sue Ford, Mervyn Bishop, Carol Jerrems, Ricky Maynard, Anne Ferran, Robyn Stacey, Patrick Pound and Rosemary Laing. Their photographs are shown alongside the work of unknown photographers and vernacular material such as cartes de visite, mug shots and domestic albums. The selection of works and structure of The photograph and Australia will enable a reassessment of the construction of people and place, identity and culture through the tantalising medium of photography. More than 35 lenders, 400 photographs and more than 120 artists from 1845 until now

The exhibition will be accompanied by a substantial publication. The book will reflect the themes and much of the content of the exhibition but is intended as a stand-alone title which has a life beyond the exhibition. The book will be authored by Judy Annear, senior curator photographs at AGNSW, with a concluding essay by Geoffrey Batchen and focus essays by specialist writers, Michael Aird, Martyn Jolly, Jane Lydon, Daniel Palmer, Kathleen Davidson.

The book will examine the sense of wonder which the photograph can still induce for its ability to capture both things of the world and those of the imagination, and how Australia itself has been shaped by photography.

The exhibition will run from 21 March to 7 June 2015 at the Art Gallery of NSW, Sydney, Australia. See: http://www.artgallery.nsw.gov.au/

Frankfurt's Städel Museum is claiming to be the first art museum in the world to have exhibited photographic works. The first mention of a photo exhibition at the Städel Museum dates from 1845, when the Frankfurt Intelligenz Blatt – the official city bulletin – ran an advertisement. The museum is claiming this is the earliest known announcement of a photography show in an art museum worldwide.

The 1845 exhibition featured portraits by the photographer Sigismund Gerothwohl of Frankfurt, the proprietor of one of the city’s first photo studios who has meanwhile all but fallen into oblivion. Like many other institutions at the time, the Städel Museum had a study collection which also included photographs: then Städel director Johann David Passavant began collecting photos for the museum in the 1850s. In addition to reproductions of artworks, the photographic holdings comprised genre scenes, landscapes and cityscapes by such well-known pioneers in the medium as Maxime Du Camp, Wilhelm Hammerschmidt, Carl Friedrich Mylius or Giorgio Sommer. An 1852 exhibition showcasing views of Venice launched a tradition of presentations of photographic works from the Städel’s own collection.

The museum is now marking the 175th anniversary of the announcement of the invention of photography with a new photography exhibition. The special exhibition dealing with European photo art – Lichtbilder. Photography at the Städel Museum from the Beginnings to 1960 – presents the photographic holdings of the museum’s Modern Art Department, which have recently undergone significant expansion.

From 9 July to 5 October 2014, in addition to such pioneers as Nadar, Gustave Le Gray, Roger Fenton and Julia Margaret Cameron, the show will feature photography heroes of the twentieth century such as August Sander, Albert Renger-Patzsch, Man Ray, Dora Maar or Otto Steinert, while highlighting virtually forgotten members of the profession. While giving an overview of the Städel’s early photographic holdings and the acquisitions of the past years, the exhibition will also shed light on the history of the medium from its beginnings to 1960.

See more at: http://www.staedelmuseum.de/sm/index.php?StoryID=1924&websiteLang=en#sthash.xaUUWzZM.dpuf

Image: Giorgio Sommer (1834–1914), Naples: Delousing, ca. 1870.

Bonhams is to sell the Leica camera with which Russian photographer Yevgeni Khaldei took Raising a Flag over the Reichstag, one of the most famous photographs of World War II. It is being offered at Bonhams Leica Centenary Sale in Hong Kong on 30 November and is estimated at £230,000-340,000 ($HK 3,000,000-4.500,000).

The image of Russian troops hoisting the Hammer and Sickle above the Reichstag (the German Parliament building) in May 1945 enjoyed instant popularity.  It became one of the most widely reproduced war photographs in the world and is often compared to the famous image of American soldiers raising the Stars and Stripes at Iwo Jima.

The Russians saw the Reichstag as a symbol of the Nazi regime and placed great store by its capture (although, ironically, the Nazis themselves loathed the Reichstag because of the democratic system it embodied and abandoned the building after it was partially destroyed by fire in 1933).  Khaldei’s image was taken on 2 May 1945 shortly after the Reichstag had finally fallen.  It is a restaging of the moment when Red Army fighters had first flown the flag over the building two days earlier before the Germans fought back and dislodged them.  The soldiers in Khaldei’s photograph are not the original men and the image has been altered to add more smoke - suggesting that fighting was still taking place – and to edit out the looted watches on the soldiers’ wrists.

Yevgeni Khaldei started work as a photo journalist for the official Soviet news agency TASS in the mid 1923s but was dismissed in 1948 for ‘resting on his laurels’ though  Khaldei himself attributed his sacking to anti Semitism. He only became known in the West in the 1990s after the fall of communism. His reputation rests mainly on his wartime work and the photographs he took at the Nuremburg Trials of Nazi war criminals in 1946.  He used this Leica camera for much of his career including his documentation  - rifle in hand - of the Red Army’s drive from 1943 onwards to push the Germans out of Russia which culminated in the fall of Berlin. 

Bonhams  Head of scientific instruments Jon Baddeley said, “It is a great privilege to be selling a  camera with such evocative associations. Raising a Flag over the Reichstag is a defining image of victory over evil which affected people deeply at the time and has continued to resonate for later generations.”   

De Montfort University is pleased to announce the availability of one Wilson Fellowship for its MA in Photographic History. The Fellowship offers £5,000 toward the defrayal of tuition and other costs related to the MA, and is open to all students UK, EU and International.The Wilson Fellowship will be awarded to applicants who will contribute significantly to the field of photographic history.

To apply for the Wilson Fellowship, please submit your cv and a proposal outlining your MA thesis topic, in English, to the Admissions Committee by 1 August. This proposal should be no longer than 4,000 words. For applications to the MA, you can access the DMU application at https://onlineapplications.dmu.ac.uk or apply through ukpass.ac.uk.

For questions about the MA programme or the Wilson Fellowship please contact Programme Tutor Dr Gil Pasternak at gpasternak@dmu.ac.uk

The MA in Photographic History and Practice is the first course of its kind in the UK, taking as it does the social and material history of photography at its centre. It lays the foundations for understanding the scope of photographic history and provides the tools to carry out the independent research in this larger context, working in particular from primary source material. You will work with public and  private collections throughout Britain, handling photographic material, learning analogue photographic processes, writing history from objects in collections, comparing historical photographic movements, and debating the canon of photographic history. You also learn about digital preservation and access issues through practical design projects involving website and database design. Research Methods are a core component, providing students with essential handling, writing, digitising and presentation skills needed for MA and Research level work, as well as jobs in the field. 

The Photographic Historical Society has announced the program of papers to be presented at PhotoHistory XVI that will take place in Rochester, New York on 10-12 October 2014. Martin L. Scott, Program Chair of PhotoHistory XVI, made the announcement.

According to Scott, the program committee has selected the following papers for presentation at George Eastman House:

• Working Without Pictures: Recovering the Early Years of American Photography / Greg Drake, Photographic Historian / Boston, MA
• Photography: Hungary’s Greatest Export? / Colin Ford, Photographic Historian, former Director of UK Museum of Photography (Bradford) / Enfield, England
• The Photographic Periodical Press 1853-1914: disseminating knowledge and forming opinions / Michael Pritchard, Research Associate, Photographic History Research Centre, De Montfort University / Leicester, and Director General, The Royal Photographic Society / Bath, England
• Geographic Origins of Still Cameras Manufactured in the United States / Ralph London, Portland, OR
• Spy Satellites, the Cold War, and Kodak / J. Bradley Paxton / Eastman Kodak (retired), Webster, NY
• The Uvachrome System of Color Photography / Cornelia Kemp, Curator of Photography and Film, Deutsches Museum / Munich, Germany
• Georeferencing the Work of Historical 19^th Century Photographers in Arizona and New York City / Jeremy Rowe / Arizona State University, Tempe, AZ
• The Trumbull Panoramic Camera / Peter and Barbara Schultz / Brown University, Providence, RI
• Teaching the History of Photography in the Digital Age / Kenneth White, Professor of Photography / Rochester Institute of Technology, Rochester, NY
• Skylight Photo Studios of the Finger Lakes / Nicholas M. Graver, Photographic Antiquarian, Brighton, NY
• The Digital Single-Lens Reflex: Born and Raised in Rochester / James McGarvey, Eastman Kodak (retired), Hamlin, NY

“Our committee had a particularly difficult time selecting papers for PhotoHistory XVI from an extraordinary number of excellent submissions. Our hope is that those we couldn’t select this time will submit again for the next PhotoHistory Symposium. We have chosen presentations representing early processes, pioneers, special apparatus, national schools, commercial manufacturing, national defense, and the preservation of the past,” Scott explained.

Further details concerning the attendance costs and the banquet keynote speaker will be released later this summer. 

PhotoHistory XVI, the world’s only continuous symposium on the history of photography, begins with a meet and greet get-together the first evening, and will continue with a full day of presentations, an evening banquet followed by a next day of browsing at a photographic trade show which attracts dealers from North America and internationally. The most recent PhotoHistory XV was held in October 2011 and drew about 200 visitors from the Americas, Europe, Australia and Japan.

The symposium’s venue, George Eastman House International Museum of Photography and Film, combines the world’s leading collections of photography and film housed within the stately landmark Colonial Revival mansion that was George Eastman’s home from 1905 to 1932. The Museum is a National Historic Landmark.

The Photographic Historical Society of Rochester, NY, is the first organized society devoted to photographic history and the preservation of photo antiques. It was founded in 1966. For more information see the Society’s web site at tphs.org. 

If you are looking for a camera obscura you could do no better than buy The Observatory in Bristol which overlooks Brunel's Clifton suspension bridge and Avon gorge. Back on the market at a reduced price the eighteenth century building houses one of the few remaining public camera obscuras. A special covenant relating to the purchase ensures that the camera obscura must remain open to the public. The building, associated caves and grounds are yours for £1,695,000 (freehold) or offers in the region thereof. It was originally on the market for £2 million in 2013 and failed to find a buyer. 

The Observatory occupies a site of great historical interest, originally an Iron Age lookout post and a fortified Roman camp. The existing building was originally built as a windmill for corn in 1766 and later converted to the grinding of snuff. This was damaged by a fire in October 1777 when the sails were left turning during a gale and caused the equipment to catch alight. It remained derelict for some 52 years until artist William West rented the old mill as a studio in 1828. It was Mr West who installed telescopes and a Camera Obscura, used by artists of the Bristol school to draw the Avon Gorge and Leigh Woods well before the construction of Brunel’s Clifton Suspension Bridge.

The Camera Obscura is situated on the top floor and is still in full working order giving an impressive bird’s eye view of Avon Gorge, projected onto a 5 ft concave metal surface. Leading to the Camera Obscura, there are two circular rooms which would eminently suit visiting art exhibitions, especially with the historical connection to the artists who used this bird’s eye vantage point to capture on canvas, the dramatic Avon Gorge. 

Mr West also built a tunnel from The Observatory to St Vincent’s Cave, which opens onto a limestone cave on the cliff face of the Avon Gorge. The cave was first mentioned as being a chapel in the year AD305 and excavations, in which Romano-British pottery has been found, have revealed that it has been both a holy place and a place of refuge at various times in its history.

The building that now stands on the site has only been sold on two occasions since it was constructed in 1766 and is now designated as Grade II*. 

The Royal Photographic Society is close by in Bath and the Fox Talbot Museum in Lacock.

Read the full specification here. 

Attitudes to photography have undergone a radical shift in recent times. Partly in response to these contemporary changes, historians, curators and photographic practitioners have begun to re-examine older forms of photography: exploring the wide variety of historical technologies and techniques, finding surprising ways in which images were manipulated and determining how an ideology of photographic realism was maintained. Yet there remains a need for scholars to explore questions of early photographic ‘authorship’, singularity and objectivity in much greater detail.

Scholarly studies of nineteenth-century photography have been heavily influenced by later theoretical constructions. As an alternative, Daniel Novak has posited a ‘Victorian theory of photography’. Yet this theory remains unelaborated. Similarly, Elizabeth Edwards and others have called for a move away from the traditional Art History model of analysing photography. This interdisciplinary conference will explore the question of what such an analysis, and such a theory, might look like. 

Possible questions and areas of interest for the conference include:

•           How do technological narratives influence our understanding of photography?

•           Photography as a business; photographers as workers.

•           The hegemony of nineteenth-century photographic realism, and resistances to it.

•           Can/should we do away with the Art History model of photography?

•           Alternatives to the photographer-as-author model of photographic exhibition and analysis.

•           To what extent can we think of photography as being separate to other print and visual media?

•           The role of photography in the creation of nineteenth-century celebrity.

•           Early photography as represented in literature, art and film.

•           Photographs as networks; photographs as objects.

•           When does ‘early’ photography end?

•           Does digital photography allow us to ‘read back’ the performativity of images from earlier periods? How might the revival of Victorian photographic techniques by current practitioners influence historians?

Keynotes: Kate Flint, Lindsay Smith, Kelley Wilder

Organisers: Owen Clayton, Jim Cheshire, and Hannah Field.

To submit proposals for 20 minute papers, please send an abstract of 200-250 words to rethinkingphotography@gmail.com. The deadline is 12^th Jan 2015, 5pm (GMT).

This two day international conference examines war photography as the result of pragmatic and strategic transactions and interactions concerning business, militarism and consumption. International speakers, including scholars, curators, picture editors and artists, will address the ways in which issues of supply and demand have shaped the field of war photography, and how this field has articulated with other forms of industrialised and commercial activity.

Speakers include Colin Harding (National Media Museum); Kevin Hamilton and Ned O'Gorman (University of Illinois); Anthony Penrose (Lee Miller Archives); Patricia Nelson (Stockholm School of Economics); Lívia Bonadio (Telegraph Magazine); and chairs include David Campbell (independent), Hilary Roberts (Research Curator of Photography, Imperial War Museum), and Janet Stewart (Director of Centre for Visual Arts and Cultures, Durham University).

The diverse papers encompass a range of geographic regions and modes of conflict from the early twentieth century to the present day, and reflect upon the relevance to war photography of commerce, industry, the military and marketing, as well as the role of workers, publishers, politicians, strategists, purchasers and consumers.

Subjects addressed include the British Army's use of Facebook; pictorial magazines of the Chinese Communist Party; photographic postcards from the First World War in Luxembourg; photo-albums of Finnish soldiers in the Continuation War 1941–1944; and contemporary sniper photographs in Iraq and Afghanistan. 

For full details of programme, abstracts, speakers, and how to register, visit Durham University School of Modern Languages and Cultures. 

Registration now open:

The Business of War Photography: Producing and Consuming Images of Conflict 

Durham University and Durham Light Infantry Museum & Durham Art Gallery, UK
31 July & 1 August 2014

Register by 14 July / £55 

Organisers and partners

The Business of War Photography is co-convened by Dr. Tom Allbeson and Pippa Oldfield, Head of Programme at Impressions Gallery and Doctoral Fellow at Durham University. The conference is presented in association with the Centre for Visual Arts and Cultures at Durham University, in partnership with Durham Light Infantry Museum & Durham Art Gallery and Impressions Gallery, Bradford. A limited number of concessionary places are supported by Royal Historical Society.

Location
The conference is held at Collingwood College, Durham University, UK. The opening session and an evening reception are held at Durham Light Infantry Museum & Durham Art Gallery, with the opportunity to view the photographic exhibition The Home Front by Melanie Friend, an Impressions Gallery touring exhibition curated by Pippa Oldfield.
 
Contact
Please address enquiries to bwp.2014@durham.ac.uk 

The European online daguerreotype database has published the first issue of its journal, Daguerreotype Journal.It is available free of charge here: http://www.daguerreobase.org/en/journal

AmberSide has to announced that it has received a confirmed grant of £1,121,200 from the Heritage Lottery Fund for its project, The AmberSide Collection: Access & Engagement.  It provides the key element in a £1.6m, three year programme of work. Securing a remarkable documentary film & photography collection, it supports:

• The capital redevelopment of Side Gallery on Newcastle’s Quayside, delivering full access, increased/enhanced exhibition spaces; a study centre with digital access to the collection and a library; improved work, exhibition development and conservation facilities (see image, right);

• A major exhibition at Newcastle’s Laing Art Gallery opening in June 2015, while Side Gallery is closed, exploring the rich narrative of the collection;

• A programme of volunteer involvement that will help to digitise over 7,000 images, 2,000 minutes of film & video as well as audio tapes and documents;

• The redesign and rebuild of Amber-Online, delivering access to the digitised collection and the rich network of connections between the different films and photographic bodies of work; 

• 18 projects working with the collection and the possibilities of documentary with primary schools, secondary schools, colleges, community groups and individuals - particularly in the communities whose histories have been captured in Amber / Side Gallery’s documentary works.

• The project will see the digitisation of photographs, video, documents and audio from an extensive T Dan Smith archive; together with the digitisation of a filmed interview with Mary Lowther on the Socialist Cafe, a key leftwing meeting place in Newcastle’s Royal Arcade.

Ivor Crowther, Head of the Heritage Lottery Fund North East, said: “Documenting the lives of working class and marginalised communities in the North East over the last 40 years, the AmberSide collection is of significant local, national and international importance. HLF’s grant will not only conserve the historic building where the collection is housed, it will also drastically improve access and, by digitising the majority of items, create even more opportunities for people everywhere to learn about key moments in our history, including the decline of industry along the Tyne in the 70s, the redevelopment of Newcastle in Byker and images of Durham’s mining communities.” 

Founded by the filmmaker Murray Martin, the Amber collective came to the North East in 1969 ‘to collect documents of working class culture’. Collection accelerated after it opened Side Gallery in 1977. In 2011, the interlinked narrative of Amber’s films and the photography of collective member Sirkka-Liisa Konttinen was inscribed in UNESCO’s Memory of the World UK register. An influential voice in British documentary photography, it was a key player in the Film Workshop movement of the 80s and early 90s.

Collective member Graeme Rigby, said: “This is a hugely important award for us. Amber has created a living archive over the past 45 years. This gives us the opportunity to work with the collection and let people know just how beautiful and extraordinary it is. And it sets us up for the next 45 years!”

Matched funding is still being sought. 

See: http://www.amber-online.com/

The Isle of Wight County Press reports that one of the best known names in marine photography, Beken of Cowes, is for sale at £5 million. The Beken collection has more than one million images, taken by three generations of Beken, who have recorded all the major events on The Solent and also travelled the world to renowned regattas, including the America’s Cup and the Olympics.

After more than 40 years afloat with his camera, Ken Beken is retiring and has put 200 years of maritime history for sale. The assets of the business are the black and white archive, which goes back to 1888, and is on sale for £3.5 million, and the colour archive, which is up for £1.5 million.

The collection ranges from the era of glass plates to today’s digital images and has been described as a "national treasure". The business started in 1888, when chemist and photographer, Alfred Edward Beken, moved from Canterbury, Kent, to the Island and opened a pharmacy in Cowes.

Read more here: http://www.iwcp.co.uk/news/news/beken-marine-photos-go-on-sale-for-5m-60601.aspx

De Montfort University's Photographic History Research Centre's 2014 conference closed on 21 June after a successful two-day series of papers from international speakers presenting to an international audience.

At the conclusion Professor Elizabeth Edwards announced that the 2015 conference, to be held in June, would be titled 'Photography in Print' and would examine magazines, books and writing about photography.

A formal call for papers will be issued later this year.

Conveyor Arts has put out a call for writing submissions for a new book discussing the state of the photobook with an historical perspective. The deadline is 14 July 2014.

See: http://www.indiephotobooklibrary.org/wp-content/uploads/2014/05/contemppb.jpg

Historians, curators and photographic practitioners have begun to re-examine older forms of photography, yet many cultural studies of nineteenth-century photography have been overly reliant upon twentieth-century theoretical constructions. 

This multidisciplinary conference will move away from these models, exploring issues such as early photographic 'authorship', traditional technological narratives, and the ideologies of photographic realism. 

Keynote speakers: Kate Flint, Lindsay Smith and Kelley Wilder. 

For more information contact: rethinkingphotography@gmail.com.

A celebration of photography inspired by Joseph Swan and his adventures with carbon, collodion and light.Joseph Swan is the inspiration for this festival of photography in Newcastle, running from Monday, 20 October to Sunday 26 October 2014. It marks the 100th anniversary of Swan`s death on 27 May 1914 and aims to highlight his important work in the field of photography.

Newcastle Photography Festival aims to create a platform for photography in the North East of England while celebrating one of photography’s greatest local sons, Joseph Swan. Taking place in venues across the city, it will present an exciting mix of exhibitions, participative workshops, photography walks culminating in a symposium where many of the participating photographers will visit to discuss their work.

Newcastle Photography Festival a non-profit organisation dedicated to the development and support of local involvement in photography. See more here: http://newphotofest.com/newcastle-photography-festival/

You are invited to a panel discussion on Saturday June 28 at Christie's, London, to celebrate the sale of important photographs to benefit the Shpilman Institute for Photography. The discussion will feature Martin Barnes, curator of photographs at the V&A, Shalom Shpilman, President and Founder, SIP, and Dr Nissan Perez, Vice President, SIP.

Please see attached invitations. London.pdf

De Montfort University is pleased to announce the availability of one Taylor Bursary for its MA in Photographic History. The Bursary offers £5,000 toward the defrayal of tuition and other costs related to the MA, and is open to all students UK, EU and International. To apply for the Taylor Bursary, please submit your cv and a proposal outlining your MA thesis topic, in English, to the Admissions Committee by 15 July 2014. This proposal should be no longer than 4,000 words. For questions about the MA programme or the Taylor Bursary Fellowship please contact Programme Leader, Dr Kelley Wilder at kwilder@dmu.ac.uk.

The Taylor Bursary will be awarded to applicants who will contribute significantly to the field of photographic history.

The MA in Photographic History is the first course of its kind in the UK, taking as it does the social and material history of photography at its centre. It lays the foundations for understanding the scope of photographic history and provides the tools to carry out the independent research in this larger context, working in particular from primary source material. You will work with public and private collections throughout Britain, handling photographic material, learning analogue photographic processes, writing history from objects in collections, comparing historical photographic movements, and debating the canon of photographic history. You also learn about digital preservation and access issues through practical design projects involving website and database design. Research Methods are a core component, providing students with essential handling, writing, digitising and presentation skills needed for MA and Research level work, as well as jobs in the field.

For further details on the course and application process, please see a course description: http://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-practice/photographic-history-and-practice-ma-pgdip.aspx

Brett Rogers, director of The Photographers' Gallery, London, has been awarded the Order of the British Empire, for 'services to the arts' in the Queen's Birthday Honours list published today. This was the only photography award made although other arts organisations were represented.

Brett Rogers, as Australian by birth, has thirty years of experience promoting photography and visual arts both in the UK and in Australia, where she worked as Exhibitions Manager at the Australian Gallery Directors’ Council from 1976 to 1979. She curated photography exhibitions where she was responsible for supporting original research into neglected areas of Australian women photographers, as well as touring photographic shows from abroad. In 1980, Rogers moved to the UK to complete an MA at the Courtauld Institute of Art. 

She joined the British Council in London, where she worked in the Visual Arts Department of the British Council and held the joint roles of Deputy Director and Head of Exhibitions. Rogers’ increased the profile and activity of British photography abroad with shows by such figures as Julia Margaret Cameron, Madame Yevonde and Martin Parr. Rogers was also responsible for initiating a series of important group shows including Documentary Dilemmas: British Documentary Photography in the Nineties, Look at me: Fashion and Photography in Britain 1960-1997, Reality Check - British Photography and New Media 2002-2004, and Common Ground, Aspects of contemporary Muslim experience 2002-2005.

Brett joined The Photographers’ Gallery as Director in 2006. She has overseen the Gallery’s move from Great Newport Street to Ramilles Street and a major redevelopment of the new premises. The refurbished building reopened in 2012. 

Check out an interview with Brett here: http://www.emahomagazine.com/2013/05/brett-rogers-30-years-of-curating/

The DGPh History of Photography Research Award 2014 will be open for all elements of research into photography’s many aspects. Besides aspects of traditional history and theory of photography, topics will be considered that deal with photography’s social meaning, or the impact that the medium has had on society. The applicant's work should represent an autonomous, innovative, and original  contribution to these areas. The award is open to researchers from all fields.

Applications and manuscripts for the DGPh History of Photography Research Award may be submitted in either English or German. Applications should consist of a published or unpublished manuscript produced during the last two years before the deadline. Project outlines, or yet unfinished manuscripts etc. will not be accepted.

Allocation will be the decision of an expert jury. The jury will publish its reasons to reward the winning entry. The jury consists of the  chairpersons of the History and Archives section of the DGPh, the previous prize winner plus one or a group of invited counsellor(s).

The decision of the jury will be final and binding. The award is honored with a total of 3,000 Euro. The jury holds the right to split the prize between two applicants in equal parts. The award will be handed over at a public event organized by the DGPh.

Submission requirements are:

- A complete manuscript in paper form (two copies) and as electronic file form (pdf)

- An abstract of the submitted work (approx. 300-500 words)
- A curriculum vitae (résumé)
- A list of publications.

The final date for submissions is August 19th, 2014 (date of postmark).

Submissions should be addressed to:

Geschäftsstelle der Deutschen Gesellschaft für Photographie
Overstolzenhaus
Rheingasse 8-12
D 50676 Cologne
Germany
email dgph@dgph.de

More information about the German Photographic Society: www.dgph.de