Blogs

A non-profit research project named Daguerreobase launched by the Nederland’s Fotomuseum, and joined in 2009 by the Fotomuseum of Antwerp with the aim of generating as much as knowledge as possible, by identifying preserving and disclosing detailed information on daguerreotypes held in Dutch and Flemish collections. A dedicated website www.daguerreobase.org was created to allow institutions and private collectors to view, edit and store records on individual daguerreotypes and establish relationships between records, based on collections, owners and a wide range of typologies such as size, mounting, hallmarks, etc.

Recently a further step has been taken with a project proposal being submitted, on June 1st, 2011, by the FotoMuseum Provincie Antwerp and the Nederlands Fotomuseum to the European ICP program Call 5. The project aims to improve the current Daguerreobase structure and functionality and to connect the Daguerreobase to the portal for European Cultural Heritage.  The main goal of this initiative is to enrich the portal’s content with 25.000 descriptions of European daguerreotypes kept in private and institutional collections together with 6.500 pages of related European historical literature.

The project has a long list of objectives including: developing standards for the description of the daguerreotype plates together with a multilingual set of entries, high quality digitization parameters to reproduce the plates, aggregating metadata on historical and contemporary daguerreotypes and interfacing with Europeana and the founding of an European Daguerreotype Association (EDA)

The proposal was carefully examined by the European Commission, received a very good evaluation for its relevance, impact and implementation and, after a period of negotiation, the project was awarded a grant. SMPhotoconservation is one of the eighteen official participants forming the European consortium, for this project and is responsible for collecting daguerreotypes, descriptions and related objects in Italy.

Since November 1st 2012, the international consortium of eighteen European partners has now been invited to initiate this exciting adventure, that will span over thirty months; it will be completed by March 2015.

Read more here: http://www.daguerreobase.org/

http://www.smp-photoconservation.com/current-projects/

https://www.facebook.com/Daguerreobase

The Getty Conservation Institute has joined with the Arab Image Foundation, the Art Conservation Department of the University of Delaware and the Photograph Conservation Department of The Metropolitan Museum of Art to form the Middle East Photograph Preservation Initiative (MEPPI).

MEPPI is a strategic initiative designed to gather information, raise awareness, and build capacity in the preservation of photograph collections throughout the Middle East - here defined as the countries of the eastern Mediterranean, North Africa, and the Gulf. The third in a series of courses will begin with a workshop that will take place in Amman, Jordan from 20-28 January, 2014. The deadline for application is 19 August, 2013.

Details about the course and the application process can be found here: http://www.meppi.org/blog/meppiamman2014courseannouncement

Dr Gil Pasternak has been appointed Senior Research Fellow in Photographic History at De Montfort University. He was previously at the University of Huddersfield. 

Dr Gil Pasternak studied for his Ph.D. in the History of Art Department at University College London (UCL), specialising in the theory and history of photography in the context of fine art, visual and material cultures. His published research work looks into the role photography plays in the formation of Middle-Eastern cultural historical topoi. His investigations consider the photographic apparatus within contexts such as the construction of physical and human landscapes, the geographical and political imagination, the domestication of militarism, private acts of political protest, and social rituals of mourning and nationalism.

Read more about his interests at: http://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/gil-pasternak/gil-pasternak.aspx

Gil can be contacted by email at: gpasternak@dmu.ac.uk

This book is the first extensive survey of early Chinese photographers in any language. It is profusely illustrated with more than 400 photographs, many of which are published here for the first time, including a fine selection of Foochow landscapes from the studios of Lai Fong, China’s leading photographer during this period, and Tung Hing.

Early chapters introduce the historical milieu from which the earliest Chinese photographers emerged and illuminate the beginnings of photography in China and contemporary Chinese reactions to its introduction. Early Chinese commercial photography – both portrait and landscape – are also discussed with reference to similar genres in a more international context. Individual chapters are devoted to Chinese photographers in Peking, Hong Kong, Canton, Shanghai, Foochow, Amoy, Hankow, Tientsin and other ports, Macau and Formosa. These are followed by a series of appendices: writings on photography in China by John Thomson and Isaac Taylor Headland and an invaluable guide to the identification of photographs from the Afong Studio. It concludes with an extensive bibliography, general and regional chronologies, and a biographical index. Combining existing knowledge of the subject with a mass of new research material, this major work also introduces and identifies the work of a number of previously forgotten or overlooked Chinese masters. It includes the work of: Chow Kwa (Su Sanxin), Hing Qua John & Co., Jiu San & E Fong, Kai Sack, Kung Tai, Lai Chong, Lai Fong, Liang Shitai (See Tay), Luo Yuanyou, Man Foc, Pow Kee, Pun Lun, Sang Cheong, Tung Hing, Wo Cheong, Ye Chung and many others.

This book completes a three-volume series on the photographic history of China until the late 19th century and will prompt a re-evaluation and heightened appreciation of these early Chinese photographers.

ISBN: 978-0-9563012-4-6

Available from Quaritch: http://www.quaritch.com/news

This project took off in Shawbost when a ‘treasure chest of pre-WW1 glass negatives were discovered in the barn of a local lady, now sadly deceased. The negatives are the work of Dr Norman Morrison (1869-1949), who was born and raised in Shawbost.  A successful author publishing works on local history, folklore, adder snakes, and politics. He is best known as a co-founder of the Scottish Police Federation having been a serving police officer for many years.

Public workshops on this 19th century wet plate photography will be held on the morning and afternoon of Monday 15 July 2013 led by photographer David Gillanders. Further details can be found here.

An iconic Swansea building where a pioneering scientist took one of the earliest ever photos of the moon will soon be brought back to life. Swansea Council has signed a 25-year lease with the Penllergare Trust for the 19th Century equatorial observatory and laboratory at Penllergare Valley Woods that once formed a local hub for stargazing.

The historic building, also a Scheduled Ancient Monument, was built in 1846 and went on to house a telescope for John Dillwyn Llewelyn, a groundbreaking photographer and astronomer of the period. From the observatory, John and his daughter, Thereza, would experiment by taking photographs of the moon.

Cllr Nick Bradley, Swansea Council’s Cabinet Member for Regeneration, said: “We signed an agreement with the Penllergare Trust last month to work in closer partnership than ever with them to protect, restore and regenerate the natural and cultural landscape of the stunning Penllergare Valley Woods. The lease agreement for the observatory building there shows considerable progress has already been made for the benefit of the thousands of people who visit the woods every year.

“The observatory building has a rich and fascinating history and its restoration forms part of what’s going to be an exciting future for this much-loved beauty spot.”

A £2.9 million restoration project is currently underway at Penllergare Valley Woods with funds from the Heritage Lottery Fund and the Parks for People programme. Swansea Council has contributed a grant towards the observatory works.

The observatory will be repaired and restored over the next 18 months. It will also be made accessible along with other attractions in the woods like the terrace gardens, the upper lake, the waterfall and an old stone bridge known as the Llewelyn bridge.

Terry Jones, Chairman of the Penllergare Trust, said: “The observatory is the scientific legacy of John Dillwyn Llewelyn. It has survived over half a century of neglect along with the picturesque designed landscape garden in the valley below. We’re looking forward to bringing this nationally important historic structure back into good condition and conserving it for public benefit.”

A new woodland car park and kiosk is also being constructed that’s due for completion this summer. A micro hydro turbine will be installed to generate electricity and ensure a sustainable future for the Valley Woods.

The Penllergare estate was at the height of its prosperity in the nineteenth and early twentieth centuries. Its creator, John Dillwyn Llewellyn, was known for his scientific experiments, pioneering photography (he was a founder member of the Photographic Society, later Royal), landscape design and horticulture.

A Royal Passion: Queen Victoria and Photography will be shown at the J Paul Getty Museum, Los Angeles, from 4 February-8 June 2014. The exhibition has been curated by Associate Curator, Anne Lyden and the accompanying book includes essays from Sophie Gordon and Jennifer Green-Lewis. 

In 1839, just two years after Victoria became queen of Great Britain and Ireland, the medium of photography was announced to the world. This exhibition explores the relationship between the new art and the young queen, whose passion for collecting photographs began in the 1840s and whose photographic image became synonymous with an entire age.

With important loans from The Royal Collection shown alongside masterpieces from the Getty Museum, the exhibition displays rare daguerreotypes, private portraits of the Royal Family, and a selection of prints by early masters such as William Henry Fox Talbot, Roger Fenton and Julia Margaret Cameron.

De Montfort University is pleased to announce the availability of one Wilson Fellowship for its MA in Photographic History and Practice. 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. 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 26 July. This proposal should be no longer than 4,000 words. For applications to the MA, please contact Student Recruitment at the Faculty of Art and Design at artanddesign@dmu.ac.uk or apply online at ukpass.ac.uk. For questions about the MA programme or the Wilson Fellowship please contact Programme Leader, Dr Kelley Wilder at kwilder@dmu.ac.uk. 

The Taylor Bursary in Photographic History. Call for Applications. De Montfort University is pleased to announce the availability of one Taylor Bursary for its MA in Photographic History and Practice. 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 26 July. This proposal should be no longer than 4,000 words. For applications to the MA, please contact Student Recruitment at the Faculty of Art and Design at artanddesign@dmu.ac.uk or apply online at ukpass.ac.uk. For questions about the MA programme or the Wilson Fellowship please contact Programme Leader, Dr Kelley Wilder at kwilder@dmu.ac.uk.

The Wilson Fellowship and Taylor Bursary will be awarded to applicants who will contribute significantly to the field of photographic history. All applications will be considered for both awards.

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. For further details on the course and application process, please see a course description at our web pages.

Daniel Louis Mundy was born 4 August 1826 in Devizes, Wiltshire. He came to Australia in 1863 and the following year took over Meluish's studio in Dunedin, New Zealand. From 1869 he devoted himself to landscape photography and this occupied him for the remainder of his life. In 1873 he toured a lantern slide show "Maori Land or Through New Zealand with a Camera" in Australia and submitted a series of views for exhibition in Vienna.

  

In 1874 he returned to England where he presented his lantern show, including a five month residence at the Royal Polytechnic Institution in London as well as exhibiting photographs before the Photographic Society of GB. He presented his show before Queen Victoria and also the Emperor of Austria who in 1875 awarded Mundy the Imperial Gold Medal of Arts and Sciences. Mundy returned to New Zealand in 1876 where he was sole licensee of the Autotype Company of London, setting up a gallery in Christchurch. In 1879 he was in Sydney touring a lantern show and troupe of twenty five Maoris that he also took to country centres. Mundy died in Melbourne on 30 November 1881.

  

I am very interested in Mundy on several fronts, firstly his NZ landscape photography, then his cdv work including his partnership with Braham La'Mert (who also worked in Australia) and his lantern show work in NZ, Australia and overseas. His brother William was a photographer and lanternist in Australia as well.

  

Tony Rackstraw has put together some very useful information in his blog on Canterbury, NZ photographers:

http://canterburyphotography.blogspot.com.au/2008/09/d-l-mundy.html

In a 2½ hour session today of the Culture, Media and Sport Select Committee  at the Palace of Westminster on the ‘Future of the Science Group’, Ed Vaizey, under-secretary of state for Culture, Communications and Creative Industry and Ian Blatchford, Director of the Science Museum Group (SMG) both unambiguously stated that Bradford’s National Media Museum would not be closed.

The session also highlighted the following key points:

• The National Media Museum will  not be closed, but had been the potential closure target within the SMG
• Ed Vaizey: NMeM ‘closure is not an option’ but ‘no change is not an option’
• Ian Blatchford: ‘delighted’ to confirm NMeM will not close and that its future is secure. ‘Museums are not shutting’
• No ‘rush to action’ before 2015/16
• Introducing admission charges was not an option
• Possible change of name away from National Media Museum
• Imax and the cinema to be run as commercial ventures
• A key temporary exhibition space to be restored to the NMeM
• NMeM to have a greater focus on science and technology
• New partnerships with local authorities, and science universities and colleges
• Media Space key to driving visitors to Bradford

Update: The evidence from the meeting is now available here. 

During the session chaired by John Whittingdale MP, the two Bradford MPs Gerry Sutcliffe and Philip Davies and Manchester MP John Leech led the questions which were put to Vaizey, Blatchford and the heads of Bradford, York and Manchester city councils all of which had been actively campaigning on behalf of the museums in their areas.

Ed Vaizey

John Whittingdale started the session by asking Vaizey about the settlement that the Department of Culture, Media and Sport had secured from the Treasury in the current spending round which would come in 2015-16. Vaizey commented that the minister, Maria Miller, had got a good settlement of 5 per cent for the national museums which he stated gave some comfort and provided the opportunity for them to continue their work. This was coupled with a ‘package of freedoms’ designed to loosen the financial restrictions the museums operated under.

Gerry Sutcliffe questioned Vaizey on the media furore after a meeting held on 23 April between Vaizey and Ian Blatchford to specifically discuss the National Media Museum. Vaizey felt that the settlement offered the opportunity to ‘reboot’ the NMeM and regretted the three weeks of speculation which had caused widespread concern. He reiterated that he saw no North-South divided and regretted that the perception existed. He stated that the museums outside of London were ‘equally important’.

He stated that he would be prepared to act to facilitate a meeting in Bradford with key stakeholders keen to support the NMeM.

Philip Davies asked Vaizey about Blatchford’s quote wanting three world class museums and not four mediocre museums. Vaizey replied that his own ambition was to have four world class museums, but he expected the leaders of museums to take tough decisions. He backed Blatchford as an ‘excellent director of the Science Museum’ and was clear that ‘we can turnaround Bradford’ and he saw all four museums in the SMG as ‘world class’.

Asked why visitor numbers at the NMeM had dropped he said that ‘we need to look at the offer’ and stated that the Imax cinema should be run as a commercial cinema and the museum needed to ‘ensure that the collection engages’ particularly with young people. Its fundraising approach also needed to change. The suggestion of closure of the NMeM had been a wakeup call and he had been ‘overwhelmed’ by support for the NMeM. He emphasised that closure ‘is not an option’ and that the future of the museum was secure but ‘no change is not an option’.  Vaizey confirmed that he was talking with the Department of Business, Innovation and Skills (BIS) as a potential partner to help make things work better and to support the science side of the SMG.

Ian Blatchford

Ian Blatchford faced a stronger grilling and Blatchford answered the initial questions shakily before gaining confidence.  Philip Davies started the questioning by asking about his quote which suggested that one museum in the SMG might close.  Blatchford claimed that the quote had been based on a possible 10 per cent funding reduction and not at the actual 5 per cent agreed. His concern would have been that cuts at the higher level would have degraded all museums and would have reduced visitor numbers, the morale of staff and volunteers and impacted on fundraising as donors generally invest in success.

Asked about the decline in the NMeM’s visitor numbers he cited a number of factors which had impacted these such as the building work in the city centre, the loss of novelty of Imax and he called the change of name from National Museum of Photography, Film and Television to National Media Museum, a mistake which he felt did not clearly tell visitors about the museum’s content. He emphasised that visitor number were not the sole measure of the success of the museum.

Asked directly about which museum had been considered dispensable he confirmed that the SMG Board had its greatest attention focused on the National Media Museum. He said that when it had first opened the NMeM had a clear purpose and over time this had become less distinct. It was now to be focused much more on science and technology, which would ally it more closely with other museums in the SMG.

Blatchford denied that his quote and interview had been a flag-waving exercise to secure a better settlement. He had met with Vaizey directly to discuss the NMeM specifically so as not to affect staff and volunteers and to work out how to ‘reshape’ the museum. Details had been leaked which had generated a national campaign to save the museums in the Group. The £120,000 spent earlier this year on the new NMeM café had been proceeded with, not to have done so would have affected staff morale as staff were aware of the plan.

The future plan now that the 2015/16 funding was known was to explore all options with the minster and local authorities but there would be ‘no rush to action’.

Davies asked Blatchford to unequivocally confirm that the NMeM would not be closing and that its future is secure. Blatchford stated that he was ‘delighted to do so’.  He said that ‘museums are not shutting’.

Gerry Sutcliffe questioned further. Blatchford stated that there was now an ‘extraordinary’ period of opportunity and the end result would be four fantastic museums which would work as a group. Blatchford denied that there had been a period of deliberate managed decline at the NMeM. After the departure of the previous Director [Colin Philpott] he had asked the Science Museum deputy director [Heather Mayfield] run the museum. She was a passionate supporter of the NMeM and had a science background. Media Space would be a showcase for the NMeM and would help drive visitors to Bradford.

Questioned about the low number of overseas visitors to the NMeM of 8,000 against nearer 50,000 to other the other northern museums Blatchford described this as a ‘challenge’. More work was needed on getting visitors to Bradford city as well as to the nearby attractions of Haworth, Ilkley and Saltaire. The new City Park and Unesco City of Film would help with this.

John Leech asked Blatchford what lessons could be learned from elsewhere in the Group. Blatchford stated that a key metric was the net cost of the museum against visitor numbers and MOSI was the best performer with Bradford 20-30 per cent more expensive. Commercial partnerships would be explored to generate more income. Fundraising as a Group would help negate London-centric philanthropy and would ensure funds could be diverted to the northern museums.

With regard to programming Blatchford stated that the Group was looking to ‘long term serious programming’ rather than exhibitions that gave short term gain. This approach would be consistent across the SMG. In the context of the NMeM there was a need to restore a key temporary exhibition space which the museum was ‘severely lacking’.

City Council heads

Tony Reeves, Chief Executive of the city of Bradford, stated that the NMeM was ‘absolutely vital to the city’ and it was jewel in the crown of the city centre. The half-million visitors were ‘really important’ to the city. He confirmed that the city provided the museum buildings on two leases due to end in 2087 and 2097 on a peppercorn rent but he said that the city’s own government grant was being cut so any direct funding was unlikely. But, the museum’s presence supported the city’s key objectives of regeneration, education attainments and improving skills and it might secure support as part of these aims. Better marketing of the city and its attractions was needed.

Gerry Sutcliffe, asked Reeves about 2012 changes at the museum. Reeves stated that the museum Advisory Board had not been told in advance of management changes and had challenged Blatchford and the then chair Michael Wilson about this. The Board had been reassured that the purpose had been to address a ‘lack of confidence in the curatorial direction of the museum’. Media Space was seen as a way of promoting the Bradford museum and the Board had been ‘satisfied’ with the response it received.  The move out of the museum of the BBC studio had been a decision for the BBC and not related to any ‘managed decline’.

Reeves stated that the decline in visitor numbers was in part that the city did not offer enough of an attraction and that the bulk of overseas visitors were visiting family. The museum needed to reengage with local people which would bring overseas visitors in to the museum.

Reeves said that recent weeks had been a ‘difficult and traumatic experience’ but there were lots of positives. The response from the public had been phenomenal both locally and internationally and had shaken people out of the complacency that the museum would always be there. He felt that there was an opportunity for a fresh look at the NMeM by the SMG and to engage with the city council and local colleges.

Where now?

The SMG will work through the implications of the 5 per cent funding cut and an announcement regarding this will be made in the autumn. For the National Media Museum, the future is secure but it will have to work hard to boost visitor numbers, increase external funding and commercial revenue. The museum will focus more on science and technology in line with the rest of the SMG which, for a museum that has significant art photography holdings, may prove challenging. Partnerships with the local authority, university and college will reinforce the new focus.  

The Select Committee meeting was attended by Dr Michael Pritchard and Colin Ford CBE. There were no representatives from the photographic press or wider photographic community. 

Reported by Dr Michael Pritchard

More shortly... 

The closure of the era of chemical imaging coincided with the turn of the 21st century: now is the perfect time to review what photography has been, consider what it is now, and contemplate what it will become. With contributions from 20 collectors and scholars, the collections in this book range from 1840–1940, including camera obscuras and cyanotypes to autochromes, stereoscopes, daguerreotypes.

Also included are American tintypes and ambrotypes, the miniature and intricate stanhopes, magic lanterns and other optical toys, megalethoscopes, and zoetropes, and many more. Each collector has written a meticulous study to introduce their photographic passion, and with over 500 images (most never before published) of cameras and photographs alike, the truly marvelous nature of the camera and the miraculous technologies that enabled them are revealed. The transcendence and “wonder of wonders!” that is ever present within photography can still be honestly and freshly felt today. This book is ideal for those who wish to study, and experience, the everlasting marvel of camera magic.

You can pick up a copy from Amazon using the link on the right.

The Metropolitan Museum of Art has scanned more than one hundred Pictorialist photography exhibition catalogues, most of them donated to the Museum by Alfred Stieglitz in 1922 and many of them not found elsewhere. These fully searchable scans provide a valuable new research tool for people studying turn-of-the-century photographic history. 

The full story, including links, can be found here:  http://www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/pictorialist-photography-exhibition-catalogues.

or go straight to the catalogues here: http://libmma.contentdm.oclc.org/cdm/search/collection/p15324coll19

On Tuesday, 2 July at 10.30am the Culture, Media and Sport Select Committee will examine the future of the Science Museum Group. 

Witness(es): Edward Vaizey MP, Parliamentary Under Secretary for Culture, Communications and Creative Industries; Ian Blatchford, Director, Science Museum Group; Tony Reeves, Chief Executive, City of Bradford Metropolitan District Council, Kersten England, Chief Executive, City of York Council and Vicky Rosin, Deputy Chief Executive, Manchester City Council

Location: Room 15, Palace of Westminster

See: http://www.parliament.uk/cmscom 

No, not the HRH type, but the Victorian ones. And it's not Queen Victoria either. It involves May, and will be held in November ....

Confused? Here goes ..... rock group Queen legend, Brian May, will be showing an exhibition of his Victorian 'stereographic' photography in November.

And what about the phone booth? Well, the exhibition will be held in what is the world's smallest art gallery (see: http://britishphotohistory.ning.com/profiles/blogs/worlds-smallest-gallery-to), an iconic BT red phone box, bought for £1 and dubbed 'Gallery on the Green'. Since 2009, the gallery curator, Roger Taylor, has held up to 10 exhibitions in Settle, North Yorkshire.

You can read the rest of the story here.

This is an excellent opportunity for an experienced development professional to make a significant contribution to one of the most visited museums in the North of England.

Located in the heart of Bradford – the world’s first UNESCO City of Film – The National Media Museum is home to 3.5m objects that make up the national collections of photography, cinematography and television, including the Royal Photographic Society and the BBC Heritage Collections. Through its stunning galleries, cinemas and vibrant public programme the museum aims to inspire people to learn about, engage with and create media. In 2012/13 The National Media Museum welcomed 500,000 visitors, including cinema audiences and school groups.

The National Media Museum celebrates its 30th anniversary in 2013 and is planning for two significant festivals – the 20th anniversary editions of both the Bradford Animations Festival in November 2013 and the Bradford International Film Festival in spring 2014. This new role will have responsibility for developing existing relationships, and identifying and securing new income to support the Museum’s public programme across income streams, including trusts/foundations, corporate sponsors and major donors. The Senior Development Executive will be the most senior fundraiser at the National Media Museum, frequently deputising for the Head of Development for MOSI/National Media Museum.

You’ll have a keen interest in and enthusiasm for the work of the Science Museum Group, particularly film, photography and television, and a good working knowledge of the UK funding landscape. You are an excellent writer and presenter, experienced at making persuasive cases for support both written and verbally. Critical to success in this role are your outstanding relationship building skills that enable you to quickly gain the respect of others – internally and externally. You are very driven, enjoy creative thinking and like to innovate and push boundaries.

SMG Job Description

1) Job Details
Job Title: Senior Development Executive
Department: Development
Location: National Media Museum and Museum of Science and Industry
Reports to: Head of Development MOSI/NMEM
Contract: Fixed term for 12 months
Type of role: Part time 28 hours per week
Salary: £22,400 (FTE £28K)


2) Purpose of the Job 
This is a senior fundraising role with wide-ranging responsibilities. The successful candidate will
develop and deliver a strategy to secure fundraised income from businesses, trusts/foundations,
individuals and public bodies to meet funding targets for the National Media Museum’s cultural
programme, including the Bradford International Film Festival, Bradford Animation Festival and
temporary exhibitions.

3) Key Deliverables/Accountabilities

1. An appropriate revenue fundraising strategy is devised and implemented
2. Provides leadership and day-to-day supervision of the NMEM Development Executive, and
   represents the Head of Development/Development department at internal and external
   meetings as required, exercising influence and collaborating at a senior level
3. Provide information to and liaise with Head of the National Media Museum as the key dayto-
   day Development Department representative on site
4. Effective account management of a portfolio of a minimum of 30 funding partners, ensuring
   that relationships with existing supporters across income streams are maintained and
   developed, and commitments to funder/sponsor are met
5. New prospects are identified and cultivated through advocacy, communication and events; a
   continuous supply of new funders are identified and cultivated with appropriate products
   available to ensure they become supporters
6. Compile, write and deliver high quality corporate sponsorship proposals and fundraising bids
   for the Museum’s cultural programme, in collaboration with appropriate colleagues within
   the organisation
7. Thorough, accurate and up-to-date records on Raiser’s Edge of all funding partners,
   prospects and opportunities are maintained
8. Establish and maintain effective and fruitful working relationships with colleagues
   throughout the organisation as appropriate to overall area of activity as well as individual
   tasks
9. The funding targets set for each financial year are met and projects reliant on external
   investment are funded and delivered
10. Take care of your personal health and safety and that of others and report any health and
    safety concerns. Ensure proactive compliance with Science Museum Group H&S Policies,
    including risk assessments and implementing safe systems of work

4) Working Relationships and Contacts

• External funders, sponsors and donors (existing and potential) – influencing, negotiating and
  providing a high standard of customer service
• Head of Development NMEM/MOSI and Director of Development SMG
• Development team at the NMEM and wider SMG Development colleagues - exchanging
  information, knowledge and practice
• Project Teams for assigned projects, particularly the Film Festival/Film team, exhibitions and
  collections – negotiating, influencing and exchanging information
• Marketing and Communications team NMEM – in relation to sponsor benefits, PR, branding and
  visibility
• Head of the National Media Museum and NMEM Senior Management Team – liaising and
  reporting
• Senior NMSI and NMEM staff, attending meetings and events with prospects – co-ordinating
  roles and providing briefings and support as necessary
• SMG finance team – to monitor and carry out appropriate finance administration relating
• SMG staff in other functions - for advice, information exchange and efficient working
• Prospective supporters for Museum cultural projects - engagement and to arrange meetings and
  presentations
• Peers at other cultural institutions and staff at organisations relevant to work, e.g. Arts &
  Business, Chamber of Commerce, other networking groups

5) Line Management and Budget Responsibility

Directly line manages: n/a
Indirectly line manages: Development Executive NMEM (part-time role)
Contractors/freelancers: As required (e.g. events production, designers etc)
Budget Holder of £ n/a

6) Candidate Profile

Experience

• A consistent track record of securing high value (5 and 6 figure) investment in the cultural or
  similar sector, with a proven track record across all income streams
• Experience of working at a senior level; close working with Senior Management Team
  NMEM, Directors, Trustees Advisory Board, Trustees and business leaders
• Experience of influencing internal teams particularly in developing projects, projecting a
  sense of confidence and knowledge of subject matter
• Experience in managing or supervising more junior members of a team (either directly or
  indirectly)
• Demonstrable experience of influencing and negotiation techniques
• Experience of preparing and delivering high quality corporate sponsorship proposals/sales
  pitches and fundraising bids/applications (e.g. Heritage Lottery Fund, Arts Council, public
  bodies and EU), both in written and verbal form
• High level of customer service and experience of account managing a wide portfolio of
  sponsors and partners

Skills, Knowledge and Relevant Qualifications

• Educated to at least graduate level
• Excellent oral communication skills including ability to engage with internal and external
  contacts at all levels, to listen intelligently and to converse clearly and confidently by
  telephone and in person
• Knowledge of and experience in drafting and negotiating sponsorship contracts/funding
  agreements, and of working with external legal advisers
• Ability to quickly digest large amounts of complex data and convert into compelling
  arguments for support for a range of audiences
• Strategic and professional approach when working with internal and external stakeholders
  and ability to manage expectations effectively
• Ability to research prospects, utilising a variety of research tools in order to expand the
  prospect pool for this sector
• Knowledge and experience of digital communications and social media tools
• Competence using software including MS Office (Word, Excel & PowerPoint), Internet and
  databases, preferably Raiser’s Edge or similar packages
• Ability to be organised and to prioritise workload to produce quality work to tight deadlines
• Ability to work on a large number of projects and accounts simultaneously
• A flexible approach to work as some evening work may be required for special events
• Ability to demonstrate an interest in and appreciation of the activities, purpose and ethos of
  SMG and the National Media Museum specifically

Behaviours

• Self-motivated, focused and proactive
• Strong leadership qualities: innovative, strategic thinker, energetic, leads by example
• Focuses on outcomes: identifies and deals with obstacles to success; takes ownership of
  given tasks; takes pride in delivering work of high standards
• Develops performance: reviews and learns from work done; suggests ideas and
  improvements; requests feedback; accepts and acts on feedback given
• Builds capability with team members through effective objective setting and
  mentoring/coaching skills
• Prioritising and delivering: prioritises objectives and plans work
• Teamwork and co-operation
• 'Goes the extra mile’ to ensure delivery and satisfaction
• Base decisions on evidence balanced with the need to sometimes take risks
• Constantly seeks to improve performance of self and team

7) Scope for Impact

• This is an important role making a critical contribution to the National Media Museum
  business plan and cultural programme under the leadership of a new Head of Museum, as
  the organisation implements a new strategic plan
• As the most senior member of the development team regularly on site at the National Media
  Museum, the opportunity to take direct responsibility for future fundraising success
• Securing funding will contribute to the delivery of new engaging exhibitions, events and
  successful festivals at the National Media Museum – enabling the museum to inspire future
  generations to engage with media, technology and science
• The ability to offer high profile and very visible partnership opportunities to potential
  supporters, particularly through the Bradford International Film Festival and Bradford
  Animation Festival
• A strong contribution to achieving the fundraising targets of both the National Media
  Museum and SMG
• Increased and potentially repeat income for the National Media Museum through cultivation
  of prospects and effective account management of existing sponsors
• Significant satisfaction and measurable success in seeing projects funded and delivered to
  completion
• Fruitful and comprehensive relationships with colleagues throughout the organisation and
  with contacts within the charitable, business and public sectors
• Opportunities to develop new skills, experience and development knowledge through high
  level working relationships within the Museum and externally with key stakeholders

Please note:

• This job description is not exhaustive and amendments and additions may be required in line
  with future changes in policy, regulation or organisational requirements, it will be reviewed
  on a regular basis.
• This role is subject to a Disclosure Scotland basic criminal record check

Deadline for applications is 14 July 2013

See:  https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=415

The world’s only continuous symposium on the history of photography: PhotoHistory XVI, will take place at George Eastman House in Rochester, New York on October 10-12, 2014, according to officials of The Photographic Historical Society who organize the triennial event.

PhotoHistory XVI will contain a full day of presentations on the history of photographic practice, aesthetics, collecting, technology and sociology followed by a next day of browsing at a photographic trade show which attracts dealers from North America and internationally. A call for papers will go out this fall. Still and motion photography subjects will be considered. For information contact: Jack Bloemendaal, General Chairman of PhotoHistory XVI at: tphs@rochester.rr.com.  

The committee responsible for the event includes, General Chairman: Jack Bloemendaal; Program: Rolf Fricke; Finance & Registration: Marian Early; Swap Meet/Trade Show: Tim Fuss; AV Coordinator: Eugene Kowaluk; Public Relations: Sharon Bloemendaal; Web Interface, Joy Champlin and Andy Davidhazy.

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. George Eastman, the founder of Eastman Kodak Company, is hailed as the father of modern photography and the inventor of motion picture film.

The Photographic Historical Society of Rochester, NY, is the first organized society devoted to photographic history and the preservation of photo antiques. Founded in 1966, it has a membership of about 120 individuals.  For more information see the Society’s web site at http://www.tphs.org

I have done a lot of work on the Burton Bros of Dunedin, New Zealand over the years with many starts and stops, and to my surprise the results of my visits to Leicester and Nottingham were relatively disappointing, regarding tracking down the lives and seminal influences (and pictures of and by) Alfred Henry Burton (1834-1914) and Walter John Burton (1836-1880). I was expecting to find more local information on the family and was saddened to hear that their negatives, including significant large format pictures of Leicester etc, had been defaced to recycle the glass during World War I.  There are many other British colonial photographers I could mention but the Burton's are still a major interest. Consequently I would appreciate hearing from anybody with a shared interest in the Burton's (printers, stationers, photographers) of Leicester and the English Midlands.

Below is an item that accompanies a small set of Burton Bros NZ images on www.photoforum-nz.org for those that are interested:

Burton Bros. A Portfolio of 11 South Island, New Zealand Views from the 1870s and 1880s                                            

1. Burton Bros. 517: Rere Lake. (‘Rere Lake  Greenstones  reflexion’) c.1875.
2. Burton Bros 1931 Glen Dhu, Lake Wanaka. (‘Glen Dhu, Lake Wanaka Aspiring centre: flax L: reflexions’) 1883.
3. Burton Bros. 3075. ‘Muir & Moodie, late Burton Bros. Dunedin, N.Z.’: Hall’s Arm. (‘Hall’s Arm near Mouth looking up: framed ferns below. Sounds Jan: 85') Printed some time after 1898 by Muir & Moodie, this photograph was made in January 1885, most likely by Alfred H. Burton himself.
4. Burton Bros. 4431: Mt. Earnslaw from Pigeon Island, Lake Wakatipu. (‘Mt. Earnslaw from Pigeon I. small cabbage trees frot.[front?]’ From the Lake Wakatipu series, 1886.
5. Burton Bros. 4488: Pembroke Peak from Head of Milford Sound (‘Pembroke Peak from head of sou’ [sound].  March 1887. [It is interesting that the catalogue entry does not identify the man with the camera case in the photograph, but it appears to be Fred Muir, rather than Harold Burton (1869‑1901, Alfred’s only son, who lost an arm due to a gunshot wound in 1890, and died from complications after a fall from his horse in 1901. See Hardwicke Knight, Burton Brothers Photographers (1980), pp. 43, for caption to illustration of BB4787, 1888, for which JM Forrester identifies FMB Muir and Harold Burton.]
6. Burton Bros. 4728: Mitre Peak, Milford Sound. (‘Sounds trip Jan.’88.... Milford: Mitre Peak Heavy tree over branch across’.) January 1888.
7. Burton Bros. 5325: Bowen Falls, 340 ft., Milford Sound  is actually a Burton Bros. albumen print from a Hart Campbell & Co. wet plate negative. This photograph is from one of over 100 Hart Campbell negatives purchased by Burton Bros. and subsequently published as their own - a fairly common practice in the 19th Century. William P. Hart, a Queenstown photographer, was likely the first to photograph the Sutherland Falls (in 1883).
8. Burton Bros. 5764: Preservation Inlet N.Z. (‘Preservation Inlet’). [It is not absolutely clear from Burton’s catalogue, but because they noted that BB Nos. 5701 to at least BB5715 were ‘Selected from Coxhead’s Negatives’ it is possible that this photograph was actually made by Frank A. Coxhead, or H. Coxhead, his brother. Of further interest is that Burton Bros., reissued it as a combination print which has had a separate sky printed in.]
9. Burton Bros. 5767: Cuttle Cove Preservation Inlet N.Z.  is an earlier version (judging from lichen stripped from the large tree in BB5768), "similarly framed" but taken at a different date and season.]
10. Burton Bros. 5768: Preservation Inlet. (‘Preservation Inlet [Upright’) [Please note that this might also turn out to be a photograph made by Frank A. Coxhead (or his brother). It is an albumen print made by Burton Bros., and the photograph appears to date from the mid‑1880s.
11. Burton Bros. 5804: Sutherland Falls Milford Sd. N.Z. (`Sutherland Falls’) [This is most likely to be a photograph by Frank A. Coxhead. Tell tale signs include the difference between the writing of Burton’s number (5804) on the negative and the actual caption which is more like Coxhead’s, and the apparent partial erasing of a name under the ‘Burton Bros.’ signature. If so, and this seems very likely, it suggests that all Burton Bros. negatives from BB5701 to BB5804 were made by FA Coxhead and printed by Burton Bros. (The original Burton Bros. catalogue indicates that negatives BB5804 to BB5833, of the `South Seas (Henderson)’, so it appears that they were adding this run of other photographer’s negatives to their catalogue, some time around 1897.]

- John B. Turner, 24 February 2002.

This item was written to accompany ten Burton Bros., and one Muir & Moodie photograph, chosen by Dr Paul McNamara for the exhibition ‘Nicholas Twist / Burton Brothers’ at the McNamara Gallery Photography, 190 Wicksteed Street, Wanganui. The exhibition opened on Friday 1 March 2002 and closed a month later. BB5764 above was not exhibited.

An area devoted to John Sawyer and Walter Bird (of Norwich and elsewhere) can now be found on the Early Photographic Studios website at http://www.early-photographers.org.uk/S&B01%20Index.html. It includes separate timelines for Sawyer, Bird and their partnerships, a note on Sawyer’s rivalry with Oliver Sarony, a dating guide for early Sawyer carte mounts, and several other documents.

The Sawyer & Bird folder represents work in progress and is far from a systematic study, but it’s hoped that it may contain items of interest to anyone seeking to investigate the careers of these photographers.

Photography from China Pre-1860, selected from the albums of Elizabeth Vacher, on show from 3 June to 27 September at Bath Royal Literary and Philosophical Institution, Bath. 

See: http://www.brlsi.org/events-proceedings/events/2013-06-03/exhibition-capture-shadow

There will be a lecture on 3 July on The Scramble for China by Professor Robert Bickers and on 19 July on Photography in China by Michael Gray both at BRSLI.