The Scientific Instrument Society has placed its first eighty-one Bulletins online, to view and download for free (for personal and non-commercial use). These cover the time period June 1984 to June 2004. An index to these Bulletins is also available. The Bulletins contain mainly crossovers with British and wider photographic history, mainly through research into companies and optics.
See: http://www.sis.org.uk/resources/bulletin-back-issues
Metro Imaging is teaming up with photographers, artists, curators and individuals who work in the photography industry to produce short, three-minute documentaries and interviews for the Metro Imaging website.
The videos, produced entirely by an in-house team at Metro, include one on one dialogue to the camera and reveal an insiders view of the processes and ideas behind exhibitions, photography techniques, production and curating as well as showing a much sought after ‘fly-on-the-wall’ view of a photographers studio.
The latest video produced by Metro, featured photographer Tif Hunter and his latest exhibition ‘On Maltby Street’. Back in October 2011, Tif set about taking Polaroid’s of stall holders he had met and befriended selling food and produce on his local market on Maltby Street in SE1, just round the corner from his studio.
As well as producing the Polaroid’s, he also took still life images of the goods available. Using a hand-built wooden camera, with nineteenth century lenses he employed the tricky use of the wet plate process inside his studio.
In the video, Tif discusses his passion for the almost lost art of Tintypes, a photograph which is made by creating a direct positive onto a sheet of metal that is blackened by painting, lacquering or enamelling and is used as a support for a photographic emulsion, first used circa 1853-1856.
He also discusses his collection of old Polaroid film, some of which he used for his portraits, and treats like gold dust as well as his passion for his local market and the importance of supporting our local traders.
To view the Tif Hunter video visit: https://www.youtube.com/watch?v=gIpg5Qgfgpw&feature=g-all (or see below)
For other videos by Metro Imaging visit: http://www.metroimaging.co.uk/metrovideos
For further details for ‘On Maltby Street’: http://onmaltbystreet2011.tumblr.com/
For further details on Tif Hunter: http://www.tifhunter.com/
Video © Metro Imaging
Image: Romanesco © Tif Hunter
We are seeking an individual who will bring innovative new skills along with professional expertise and/or specialised postgraduate training to fulfil the full-time role of Photographic Research and Preservation Officer. Working within our Photographic Collection team, the successful candidate will provide research and client services as well as drive the preservation and preventive conservation of the physical collections. The role is driven by access initiatives and departmental objectives to further knowledge transfer, learning and to support the research interests of key university, public, and commercial stakeholders.
This is an opportunity to work with an outstanding collection of approximately 800,000 historic photographs from the medium's earliest practitioners through to the present day. The collection features an unsurpassed photographic record of Scottish identity and cultural transformation from the 1840s onward, an extensive topographic collection of towns, cities and people across the UK and abroad, as well as including works by some of photography’s international masters. The photographic medium's application as a resource for contemporary interdisciplinary study ensures that the collection is frequently used for research and teaching purposes by postgraduate students, academic researchers, art historians, museum curators, Scottish historians, genealogists, golf scholars, film makers, television production companies, members of the media as well as subject specialists from divers disciplines.
We are actively embracing technological advancements and contemporary approaches to the management and dissemination of our photographic collection and invite similarly minded, dynamic professionals, with forward thinking ambitions to consider joining our team. The department is positioned at an exciting time in its evolution as we plan for the future home of the university’s Special Collections, and consider the best ways to develop the international recognition of our holdings.
The post will start on 1 March 2013, or as soon as possible thereafter.
Informal enquiries can be made to Marc Boulay – Photographic Archivist. Email:mdab@st-andrews.ac.uk, Tel: +44 (0)1334 462326.
Interview Date: 30th or 31st January 2013
Closing Date: 9 January 2013
Please quote ref: ME7131
Further Particulars: ME7131CG FPs.doc
University Library
Salary: £24,520 - £29,249 per annum
Start Date: 1 March 2013, or as soon as possible therafter
More details are here.
The National Media Museum’s diverse collections encompass some of the most significant and historically important cultural, scientific and aesthetic material in the world. As Head of Collections and Exhibitions for the National Media Museum, you will play a prominent role in creating an internationally acclaimed programme of exhibitions and events, supported by collections of genuine significance to our cultural history. Substantial senior management experience in a large cultural organisation is essential with a proven track record of delivering world-class exhibitions of varying sizes, budgets and complexity and of managing the development of significant museum collections.
Central to your success will be your ability to build strong working relationships within the museum, understanding our strategic priorities and shaping a robust, imaginative and visitor-focused future plan. This is very much an opportunity to inspire rejuvenation at every level, exploring opportunities to improve how we operate in core areas: how we care for and develop collections, how we improve visitor access, learning and engagement, how we enhance the content of our exhibitions and our research programme. You will have a specific responsibility for bringing together the curatorial and exhibitions teams, uniting skill sets to create a rich public programme that will build new audiences and increase access to the collections.
Award winning, visionary and truly unique, The National Media Museum primarily embraces photography, film and television. Part of the Science Museum Group family of museums, it aims to engage, inspire and educate through comprehensive collections, innovative education programmes and a powerful yet sensitive approach to contemporary issues.
The Science Museum Group is devoted to the history and contemporary practice of science, medicine, technology, industry and media. Consisting of the Science Museum (http://www.sciencemuseum.ac.uk/), Museum of Science and Industry (http://www.mosi.org.uk/) (Manchester), National Media Museum (http://www.nationalmediamuseum.org.uk/), National Railway Museum (http://www.nrm.org.uk/) (York), and National Railway Museum (http://www.nrm.org.uk/shildon) (Shildon) we have five million visitors each year, making us the most significant group of museums of science and innovation worldwide.
Purpose of the Job
To work with the Head of Museum to deliver a rejuvenated National Media Museum, with improved care and access to the collections and an internationally significant programme of exhibitions and events. The post-holder has specific responsibility for bringing together the curatorial and exhibitions teams to deliver care of the collections of the standard of a national museum and a rich public programme that will build new audiences and improve opportunities for learning and engagement
Key Deliverables/Accountabilities
1. To deliver the collections information and content required for a rejuvenated NationalMediaMuseum with effective programming, excellent access to the collections and a robust, fundable future plan
2. Responsible for the delivery of innovative, audience focused exhibitions and programmes for the NationalMediaMuseum and for Media Space (working with colleagues in the ScienceMuseum)
3. Responsible for developing and delivering the successful matrix management of all cultural outputs in the NationalMediaMuseum
4. To define and deliver a programme of cultural change that modernises working practices in the Collections and Exhibitions teams in line with the standards and expectations of a national museum in the Science Museum Group, to ensure the delivery of high quality outputs
5. Responsible for managing relationships across departments in the Museum and ensuring appropriate collaborative working to deliver the required outputs and increase visitor figures
6. Work with the Head of Museum to deliver a robust, imaginative and visitor focused future plan for the collections, programme and estate of theNationalMediaMuseum, and support the development of sponsorship proposals
7. Responsible for developing and delivering (with others) the content for the Museum’s future plan
8. To represent the NationalMediaMuseum and Science Museum Group (SMG) externally where appropriate, e.g. on professional groups and in dealings with stakeholders (such as DCMS) and partners (such as the Royal Photographic Society, the Getty Institute) ensuring positive relationships and enhancement of the museum reputation
9. Define and deliver a strategy to build, enhance and refine the National Media Collections to ensure they are of international significance, including acquisition and disposal against agreed strategy, policy and business activity
10. Define and deliver improved public and scholarly access to the Museum’s collections, appropriate research outputs and an increase in awareness of the significance of the Museum’s collections nationally and internationally
11. Define and deliver excellent standards of research-driven exhibitions to the Media Space exhibition programme in London and Bradford
12. Work with the Head of Collections at the ScienceMuseum to ensure the appropriate development of all collections and collecting policies in line with Science Museum Group standards, ensure the application of all SMG collection and documentation standards
13. 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
Working Relationships and Contacts
Line Management and Budget Responsibility
Directly line manages: up to 6
Indirectly line manages: up to 20
Contractors/freelancers: up to 10
Budget Holder of up to £1,000,000
Candidate Profile
Experience
Skills, Knowledge and Relevant Qualifications
Behaviours
Scope for Impact
The post holder is a key driver in ensuring the delivery of a high quality programme and increased access to the collections, improving perceptions of the museum and significantly enhancing the understanding of the museum as a professional, effective organisation nationally and internationally.
The post holder will be central to scoping and delivering cultural change across the Exhibition and Collections teams, implementing significant change in ways of working and in the attitude and behaviour of staff, adopting a matrix approach to managing outcomes.
The post holder will be instrumental in developing a new model of combining research, curatorship and communication to deliver outcomes that build new audiences and improve opportunities for learning and engagement.
The post holder is key to in establishing effective collaborative relationships across the Science Museum Group and more widely with local stakeholders and international partners, including relationships with external designers, consultants/project managers and internal stakeholders to ensure a high standard of exhibition delivery that enhances the Museum’s reputation.
Apply: click here
The history of photography is rich with chemical innovations and insights, producing hundreds of different processes to develop images in unique and often beautiful ways. But these historical images can be difficult to conserve, especially since each type of photograph requires a different preservation technique. While two photos could look very similar, they may differ chemically in dramatic ways.
This is where photo conservation scientists like Art Kaplan at the Getty Conservation Institute come into the picture. Art spends his days studying different styles of photographs, their materials and the chemistry that gave life to still life in the early days of photography. His office is loaded with drawers of photographic samples, scientific instruments and a clear passion for frozen history. In our latest video, Art explains the developmental processes of several types of photographs including daguerreotypes, ambrotypes and tintypes.
Video by Kirk Zamieroski can be found here.
Produced by the American Chemical Society.
A new History and Theory of Photography Research Centre has recently been approved at Birkbeck, University of London. Based in the Department of History of Art and Screen Media, School of Arts, the Centre is led by Professor Lynda Nead and Dr Patrizia Di Bello, supported by a steering committee.
The Centre aims to facilitate, exchange and showcase existing and new interdisciplinary research on the History and Theory of Photography not only at Birkbeck but also in the wider photographic and academic community. It recognizes that photography is a medium that is at once art, science, commerce, legal or historical evidence, emotional memento, and many more things besides. It is interested in the materiality of photography throughout the arc of its life – from how it is taken; realized as a tactile as well as visual object (album, print, poster, book, magazine, file, screen); circulated in contexts that might differ widely throughout the lifetime of the photograph (for example from document – historical, legal, scientific, or personal – to ‘art’); and viewed in specific ideological, historical and material circumstances in the lab, at home, in the gallery, on the ‘phone, in the street, and in ways we have yet to imagine.
The Centre is committed to working collaboratively and with a range of outputs: reading groups, seminars, conferences, and publications. The Centre has links with museums in London, and supports teaching on photography in the School through the MA in History of Art with Photography and MPhil-PhD supervision.
A website is under development but initial information is already available at http://www.bbk.ac.uk/arts/our-research/centres/photography.
In 1862, the Prince of Wales (later King Edward VII) was sent on a four-month educational tour of the Middle East, accompanied by the British photographer Francis Bedford (1815-94). This exhibition documents his journey through the work of Bedford, the first photographer to travel on a royal tour. It explores the cultural and political significance Victorian Britain attached to the region, which was then as complex and contested as it remains today.
The tour took the Prince to Egypt, Palestine and the Holy Land, Syria, Lebanon, Turkey and Greece. He met rulers, politicians and other notable figures, and travelled in a manner unassociated with royalty – by horse and camping out in tents. On the royal party’s return to England, Francis Bedford’s work was displayed in what was described as ‘the most important photographic exhibition that has hitherto been placed before the public’.
The exhibition is being held at The Queen's Gallery, Palace of Holyroodhouse from Friday, 08 March 2013 to Sunday, 21 July 2013. Further details can be found here.
This Bonhams auction in London on 4th Dec includes an exceptionally rare set of two volumes of photographic albums of Java in the Dutch East Indies by the pioneering Victorian photographers, Walter Woodbury and James Page. Containing some 60 topographical views and portraits, mostly around Batavia, they are estimated to sell for between £10,000-15,000.
Another lot on offer is an album of 180 views and portraits taken in Ethiopia by Captain Tristram Charles Sawyer Speedy(1836-1910). It also includes some self-portraits of Captain Speedy himself and us estimated to sell for £600-800.
You can check the rest of the lots here.
This item, lot 2104, an Exceptional Leica Luxus I, circa 1930, No.40848 with a 50mm f3.5 Elmar lens, and a faux lizard skin body covering had been estimated to sell for HK$1,200,000-1,800,000. In the end it was knocked down for almost seven times that amount on Friday.
Jon Baddeley, Head of Collectables at Bonhams, said after the sale: "This was the first Leica sale in Hong Kong and the results more than justify our belief in the idea of bringing these wonderful cameras to China which has a rapidly emerging market for vintage cameras. We took a bit of a gamble but it has paid off handsomely Already we can see that this market is outstripping New York and London."
This camera was from the collection of E. J. Newton (Jack), one of the founder members of the Leica Historical Society and its first president. It remained within his private museum in Sutton Coldfield, England, and later, along with most of his collection, went on display at the Royal Photographic Society of Great Britain, Milsom St., Bath. Thence to current vendor.
The Luxus cameras were produced on special order only in very tiny numbers between 1929 and 1930, using serial numbers falling between 28692 and 68834. Just 95 units were produced and many less are known to exist today. You can read the rest of the report here.
Over the period 1 May 2011-30 April 2012 1378 photographs valued at £8,671,367 were licensed for export after reference to expert advisers. These are photographs that might have been sold at auction, through a dealer or privately and which would require an export licence under the Waverley criteria.
For an Open General Export Licence the threshold for 'A photographic positive or negative or any assemblage of such photographs over 50 years of age' is £10,000. Within the EU the threshold is £13,045
More information is here: http://www.artscouncil.org.uk/what-we-do/supporting-museums/cultural-property/export-controls/export-licensing/
Your recognised conservation qualification or similar experience will be supported by demonstrable skills in interventive and preventive museum conservation on a wide range of photographic materials, with an understanding of conservation and collections care for 3-d mixed media objects; including condition checking and documentation . You will be able to supervise volunteers and conservation interns and provide advice and support to colleagues working within the Curatorial, Corporate & Collections Information (Registration & Documentation) and Exhibitions teams. The role will also participate in the safe management of hazards within the collections, complying with current H&S regulations and in-house policies and safe working practices. You will have excellent interpersonal skills and be confident communicating with a wide range of people. You will have demonstrable skills in problem solving and prioritising, which will be supported by your previous experience within a museum or cultural heritage environment. You will be able to demonstrate the ability to plan and execute your own work programmes, provide statistics and promote high conservation and collections care standards with the ability to use Collections databases (eg: Mimsy XG) and practical expertise in object handling. CP/NMEM/NOV 12 - Conservator of Photographs
Click here for more or to apply
Application Details When you apply you will be asked to upload one document in Microsoft Word format which includes both your CV and a covering statement. In your covering statement please state why you feel you are suitable for this role? Please focus on the experience you consider to be most relevant to this role.
To preserve the photographic and film collections in the care of the National Media Museum using best professional practice to meet strategic and statutory requirements within the budget constraints of the organisation.
To undertake all aspects of interventive conservation on a wide range of photographic materials, including condition checking and documentation. Responsible for all aspects of preventive conservation work for all collections held by NMeM. To advise upon and ensure that deterioration throughout the collections is minimised through the relevant preventive conservation methods.
Ensuring that these tasks are carried out in a safe and secure manner to comply with current legislation and following best professional practice.
Key Deliverables/Accountabilities
1. To plan and execute a work programme of conservation of inventoried photographs in the collections based on conservation requests, projects, loan outs and renewals, acquisition requests, on time and to budget, complying with best professional practice and statutory requirements. 2. To manage, maintain and improve systems for preventive conservation at NMeM, including environmental monitoring and control, integrated pest management, condition surveys, storage surveys. Analyse the results and write an annual environmental report. Compile reports to advice on long term priorities and strategies highlighted from preventive work. Working together with conservators across the group to deliver annual KPI reports and to achieve best results. 3. To develop and deliver collections care training to other SMG staff and volunteers in object handling and the fundamentals of preventive conservation; and other training as identified with line manager. 4. To advise line manager and other appropriate colleagues (eg curatorial/registration) on conservation issues connected with photographic material under treatment to ensure that projects are completed on time and to professional standards. To advise line manager and other appropriate colleagues on conservation issues with all other collection materials that require specific specialist conservation. 5. Prepare condition and treatment reports (with annotated images) for photographic material and other collection objects conserved and input this information into MIMSY XG database following CCI and Science Museum conservation documentation guidelines. Prepare condition and display/storage recommendation reports for loans and new acquisitions. 6. To participate in safe management and awareness of hazards within the collections; complying with current H&S regulations, in-house policies and safe working practices in the Conservation lab, galleries and object stores. 7. To maintain and develop professional knowledge and expertise in conservation and collection care related to the NMeM's collections. 8. To plan and prioritise work programmes for students, mentoring and monitoring quality of output, and developing practical knowledge and skills to ensure that best practice is passed on to future staff. 9. To undertake the general administration of the Conservation lab, to ensure that this is done in an environmentally sound and economical manner. 10. To participate in public events where appropriate to raise awareness and provide public insight into work of Conservation and Collections Care. 11. Manage external specialists and contracts for specific conservation projects outside the expertise of the post holder, eg remedial object conservation. This could include conservation colleagues in other Group museums. 12. Support colleagues with emergency planning and salvage with particular input regarding the Collections 13. Under supervision to undertake basic conservation research projects on specific areas of the collections or types of objects to extend knowledge of the whole team. 14. Take care of your personal health and safety and that of others and report any health and safety concerns. Ensure proactive compliance with SMG H&S Policies, including risk assessments and implementing safe systems of work.
Working Relationships and Contacts
Line Management and Budget Responsibility
Candidate Profile Experience
Skills, Knowledge and Relevant Qualifications
Behaviours
o Good team worker who demonstrates and encourages positive approaches, seeks to resolve issues and conflicts, focuses on win-win outcomes, actively champions the team; motivates others and enthusiastically shares knowledge & expertise.
o Actively seeks information, prioritises and uses time efficiently, thinks several steps ahead, seeks tasks, responsibilities & challenges, spots & rectifies errors, works smartly, builds in contingencies, self-starts, anticipates issues, proactively identifies areas for cost efficiency, actively seeks and responds to feedback, multi-tasks effectively,
o Reacts positively to change and uncertainty, prevents problem re-occurrence, continually seeks improvement, thinks ‘outside the box’, seizes opportunities to be creative, develops processes, systems & solutions; Networks extensively; Explores root cause of problem
o Proactively helps, understands customers and acts to meet their needs, enthuses about the product or service or working collaboratively with non specialist audiences in developing cultural offers, goes the extra mile, answers all questions & provides additional information
Scope for Impact
Please note:
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The upsurge in popularity of the Graphics Interchange Format or GIF has been applied creatively for viewing stereoscopic pairs of images. I came across this site which maybe of interest. http://imgur.com/a/PW5Xu#9cOJ6
Anne McNeill, Director, Impressions Gallery and Brian Liddy, Curator of Collections Access, National Media Museum will discuss the gallery's role in British photography and its connections with the museum's photographic archive. The Gallery has its own extensive - and important - photography archive which dates back to its founding in 1972.
The event will take place at Insight at the National Media Museum's Collections & Research Centre and will provide an opportunity to view original photographs from the museum’s collection.
This event is free, but please book in advance as places are limited on 01274 737843 or email: enquiries@impressions-gallery.com
After Archive Connections you are also welcome to attend the Directors Talk at Impressions Gallery at 3.30pm and view our 40th anniversary exhibitions Roads to Wigan Pier and The Way We Were.
Saturday 8 December 2012, 2.00pm to 3.00pm
See:http://www.impressions-gallery.com/events/event.php?id=221
www.bmarchives.org - after 5 years of development and hard work we launched our new website this week which incorporates not only our vast collection of historical images that have been online for 10 years but also our 6775 strong map collection and our archives catalogue.
We decided to keep the visual and intuitiv setting of our historical images website, www.bmpix.org, which relaunched our historical images within the International Mission Photography Archives in 2008.
bmarchives.org now incorporates not only the large historical images collections of the Basel Mission Archives and the maps (sketches and plans) but also an electronic version of our finding aids which aims at assisting the researchers by allowing them to begin their archives research at their own desks at home.
Our main aim however is to visualise the interconnections of the various collections harboured at the archives. We included a geo referencing tool which connects the past with the present in a very intuitiv way.
The School of Art History at the University of St Andrews is offering three PhD scholarships of £15,000 in the areas of Art History, History of Photography and Museum & Gallery Studies to begin in September 2013 (3 years, full time). The Scholarships will cover the cost of fees (at the UK/EU home rate) and provide a tax-free bursary to successful candidates.
For full details on these scholarships and the application process, see:
As priceless images from the earliest days of photography were dissolving in front of museumgoers' eyes, an unlikely team set out to save them. In the theaterlike darkness of the international Center of Photography in New York City, black-and-white ghosts of New England's mid-19th-century Boston Brahmins stared out from behind the glass-and-rosewood frames. These were the works of Albert Sands Southworth and Josiah Johnson Hawes, the Rembrandts of daguerreotypy—the first practical form of photography. A demure bride in white silk crepe fingered her ribbons; the stern and haughty statesman Daniel Webster glared from behind his brow. When the “Young America” exhibit opened in 2005, its 150-year-old images captured American icons at a time when the nation was transitioning from adolescence into a world power. “Each picture glows on the wall like a stone in a mood ring,” the New York Times raved in its review.
Yet after a month on exhibit, the silver plate–bound images began to degrade...
http://www.scientificamerican.com/article.cfm?id=nanoscientists-attempt-save-disintegrating-artworks
A rare album of photographs of China by John Thomson titled 'Foochow and the River Min' (1873) sold for an auction world-record of £349,250 (including buyer's premium) at Sotheby's on 15 November 2012. One of an edition of only 46, this album was offered for sale by descendants of the original tea-merchant owner, Oliver Latham, who won the album in a pigeon match in Foochow in April 1873.
In the same sale a complete set of Thomson's Illustrations of China and its People (1873-74) sold for £49,250 (including buyer's premium).
http://www.sothebys.com/en/auctions/ecatalogue/2012/travel-atlases-maps-natural-history-l12405/lot.103.html
This week's blog post from the Special Collections department of the University of St Andrews has some beautiful photogravures from Hill & Adamson and Julia Margaret Cameron, amongst others:
The Reverend Dr John Wall MA FRPS died on 5 October 2012 aged 84 years. His funeral was held in Kirkbymoorside on 16 October. John Wall compiled the pioneering Directory of British Photographic Collections which was published by The Royal Photographic Society’s National Photographic Record and Heinemann in 1977.
John Wall was born in Middlesborough in the North Riding of Yorkshire in 1928. From the age of three he lived in Darlington, County Durham where he attended Darlington Queen Elizabeth Grammar School. Later he attended Hartley-Victoria Theological College and Manchester University. He obtained a BD degree (London), an MA, Classics (Bristol) and a PhD in Medieval History (London).
After graduating in divinity Wall took pastoral charge of churches in Newcastle and Somerset. He entered the teaching profession in 1966 and became a principal lecturer and head of religious and social studies at Middleton St George College of Education in County Durham. Wall was an enthusiastic amateur photographer and joined the Royal Photographic Society. He gained his Associateship in 1966 and Fellowship in 1977.
His lasting legacy is the publication of the Directory of British Photographic Collections. This had its origins in a meeting held by the Society in March 1972. The idea of a National Register of Photographic Archives had been championed by Colin Osman for some years and this, under Wall’s efforts, was renamed the National Photographic Record and set up as a department of the Royal Photographic Society. (1) The NPR was supported by the Sunday Times and funded privately with some £16,000 raised to establish it. Wall became its leading advocate and, with a staff of four and four years, worked on the compilation of the Directory. The Directory aimed to collate basic information on photography collections in the United Kingdom and some 17,000 questionnaires were circulated with 1580 collections included in the book which was published in 1977. (2)
Following publication Wall continued to write and lecture extensively on photographic archives and related subjects. He gave The Peter Le Neve Foster lecture at the Royal Society of Arts in November 1982 titled ‘Towards a National Photographic Archive’ . (3)
Taking early retirement on account of his wife's incapacity, Wall retired to Kirkbymoorside, on account of its proximity to the North Yorks Moors Railway. His interests and hobbies included: steam railways; walking; coins and stamps; mazes; sundials; photography; medieval history and sculpture. In addition to the Directory he was the author of First in the World: The Stockton and Darlington Railway (Sutton Publishing, 2001); The Face of the Realm: Twentieth Century Coins of the United Kingdom: Their History and Design (Spink and Son, 2002) and well as articles and papers across all his interests.
Away from photography Wall was an active Methodist and a volunteer with the North Yorks Moors Railway. His wife, Betty, predeceased him and he had five children. Ruth, Michael, Antony, Mary and David.
Dr Michael Pritchard
(1). Colin Osman, ‘A National Register of Photographic Archives’, Newsletter of the Royal Photographic Society Historical Group, No. 1 (June 1972), p. 4.
(2). John Wall, ‘Recording Britain’s Photographic Heritage’, Transations Leicester Literary and Philosophical Society, vol. 78 (1984), pp. 16-17.
(3). John Wall, ‘Towards a National Photographic Archive’, Journal of the Royal Society of Arts
Vol. 131, No. 5318 (January 1983), pp. 70-86.
Bonhams is to sell Beatle George Harrison's Pentax S1a camera in an auction on 12 December 2012 in London. The camera has come from the Harrison family collection. Click here to see the full lot description. It is estimated at £5000-6000.
