Blogs

Ruth Wilcock, the author of Whitby Photographers, their lives and their photographs from the 1840s, will be giving an illustrated talk on Early Whitby Photographers at Whitby Museum, Pannett Park, Whitby, YO21 1RE, on Wednesday 26 September 2012 at 2.15pm. Non-members are welcome, £1.

For more information see: http://www.whitbymuseum.org.uk/bitsnpieces/talks.htm

For details of the book and stockists see: www.towlard.com 

De Montfort University's Photographic History Research Centre has published details of its Autumn research seminars in cultures of photography. Seminars are open to everyone. 

Autumn 2012, Tuesdays 4 – 6pm, Edith Murphy Building, De Montfort University, Room number in square brackets.

October 9^th     [EM 1.07]

Dr Steve Edwards (Open University)

Beard Patentee, Claudet Exception: Photography, Biography and Intellectual Property

November 6^th  [EM 1.28]

Professor Clare Anderson (University of Leicester)

Representation, photograph-objects and family albums: visualising the Andaman Islands penal colony, 1858-1939

December 4^th  [EM 1.27]

Kim Timby (Independent Scholar, Paris)

From Mirror to Window: The Promise of Early Lenticular Photography

in conjunction with PHRC’s annual 3-D day]

Any queries, please contact the convener: Professor Elizabeth Edwards, Photographic History Research Centre. E: eedwards@dmu.ac.uk

An AHRC-funded Collaborative Doctoral Award studentship covering stipend and tuition fee costs is offered within the Photographic History Research Centre (PHRC) in the Faculty of Art, Design and Humanities in collaboration with the British Museum.

The project addresses the role of photography and its relationship with other mimetic technologies in field archaeology and the subsequent institutional life of the images in the construction of ‘heritage’. The project also explores the methodological implications for a ‘photographic history’ approach to collections and institutions.

The project will focus on the 1513 magnificent late nineteenth century photographs made of Maya archaeology by Alfred Maudslay, their relationship with other kinds of recording and their subsequent ‘life’ in the Museum. The student will have scope, within the project parameters, to develop an emphasis in photographic history, collections history, history of science, or museum practice in archaeological heritage.

The PhD studentship will be based at PHRC which undertakes leading innovative research on photography and its practices from the early nineteenth century to the present day, and over a wide range of social and cultural processes. It has a dynamic and growing research community and an excellent research library for photographic history. The successful candidate will be expected to contribute to the development of this community and that at the British Museum.

Supervision will be available from Professor Elizabeth Edwards (DMU) and key members of British Museum staff who have active interests in photography, history, archaeology and collections history.  The studentship will be based at DMU, Leicester, with extended London-based periods of study at the British Museum and related archives

Candidates might come from a range of possible disciplines: art history, history of photography, museum and heritage studies, science and technology studies, material culture studies, archaeology, visual anthropology, or visual culture studies. A knowledge of Meso-American archaeology is not a requirement.

PHOTOGRAPHS, MUSEUMS AND ARCHAEOLOGY

Alfred Maudslay, Photography and the Mimetic Technologies of Archaeology: A Study in Method, Process and Effect

Photographic History Research Centre, De Montfort University, Leicester/ British Museum, London

STARTING JANUARY 2013

For a more detailed description of the PHRC please visit our web site or contact

Professor Edwards (eedwards@dmu.ac.uk) who will be happy to discuss the studentship further.

Applications are invited from UK or eligible EU/overseas students  (please check http://www.ahrc.ac.uk/FundingOpportunities/Documents/GuidetoStudentFunding.pdf Annex A for residency requirements) with a good first degree (First, 2:1 or equivalent) and MA in a relevant subject. Applications are welcome from MAs completing 2012. The CDA scholarship is available for three years full-time study starting January 2013, providing a bursary for both maintenance  (currently c. £14,500) and fees.

To receive an application pack, please contact the Faculty Research Office via email at ADHresearch&innovation@dmu.ac.uk.  Completed applications should be returned together with a full CV, two supporting references, a statement explaining your interest in the project, and an example of your written work of c.3000 words.

Please quote ref: AHRC/CDA/PHRC12/2

CLOSING DATE: September 28^th 2012

Interview date:  week beginning October 15 2012

The status of photographs in the history of museum collections is a complex one. From the inception of the medium its double capacity as an aesthetic form and as a recording medium created tensions about its place in the hierarchy of museum objects.  While museums had been amassing photographs since about 1850, it was, for instance, only in the 1970s that the first senior curators of photographs were appointed in UK museums. On the one hand major collections of ‘art’ photography have grown in status and visibility, while photographs not designated  ‘art’ are often invisible in museums. On the other hand almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects. Many of these collections remain uncatalogued and their significance unrecognised. However recent years have seen an increasing interest in the histories of these humble objects, both their role in collections histories and their histories in their own right.

This one-day meeting, a collaboration between MGHG and the Photographic History Research Centre at De Montfort University, Leicester, will explore the substantive and historiographical questions around museum collections of photographs. How do categories of the aesthetic and evidential shape the history of collecting photographs? What are the implications of shifts in these categories? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections?

Abstracts of no more than 250 words, for 25 minute papers, should be sent to Professor Elizabeth Edwards (eedwards@dmu.ac.uk)  and Dr Kate Hill (khill@lincoln.ac.uk) by November 10th  2012.

Details of the day will be posted in December 2012.

Between Art and Information: Collecting Photographs

One Day Meeting, Leicester, Saturday March 2^nd 2013

A collaboration between: Museums and Galleries History Group/Photographic History Research Centre, De Montfort University

The National Media Museum is looking to engage an architectural designer to work with it to create a new BFI Mediatheque in the museum building. It is looking for an experienced architectural designer to lead on the design, to appoint and manage a graphic designer and to coordinate the overall design scheme. This is an exciting opportunity to create a unique and innovative design which will refresh the museums’ visitor experience. The work is expected to last from October 2012-April 2013. 

There are currently five  BFI Mediatheque across the UK. The offer visitors the opportunity to access films and television programmes from the BFI National Archive, free of charge. The Mediatheque is a digital jukebox of film and television programmes from the BFI’s unique collections, augmented by content from regional archives.  With 85% of its content unavailable to view anywhere else new content is added regularly building a unique collection of titles from the lesser known and newly rediscovered through to well-loved classics.  Access to Mediatheque content is provided free to the general public. 

Contact: Sharon Goldsbrough, Science Museum Group, Science Museum, Exhibition Road, Property and Project Management (North), London, GB, SW7 2DD . Tel: 0274 203428. e: MPG@sciencemuseum.org.uk

BPH has reported on the decline in visitor numbers at the National Media Museum over recent years (see: http://britishphotohistory.ning.com/profiles/blogs/national-media-museum-visitor-numbers-continue-to-fall) The Museum has just issued a tender document for an audience research exercise to:

1. Review of existing audience research; produce a draft brief for commissioning additional qualitative research and an initial review of the NMeM.

2. Provide oversight of additional qualitative research, providing advice and guidance to process: 2.5 days work.

3. Presentation of initial review to internal stakeholders: 1 day.

4. Produce detailed recommendations for the audience development plan and an outline document.

5. Presentation of final plan to internal stakeholders: 1 day.

6. Provide training and implementation of Audience Plan: 10 days.

For more information or to bid for the contract contact: Heather Mayfield at the Science Museum 020 7942 4000.

This exhibition consists of almost 100 years of photography starting with Clarence Taylor's 1862 work in Nepal and finishing with the great expeditions to Everest and Kanchenjunga in the 1950s. It also introduces the impressive collections from the Society of historic maps, over half million photographs dating from 1850 to the present, rare boos etc.

The exhibition will also provide a rare opportunity to see and purchase Limited Edition prints of original material held in one of the country's foremost collections. Details of the exhibition can be found here.

Photo: 

Shive Dagon: the Pilgrim's Rest

A group of Victorian travellers gaze out across the tranquil landscape from the Pilgrim’s Rest, at the foot of the Schwedagon pagoda, near Rangoon in Burma (Myanmar). The pagoda is one of the most revered in Burma, possibly in the whole of Southeast Asia, and is surrounded by rest-houses for pilgrims and numerous smaller pagodas.

Picture: Vincent Clarence Scott O'Conner, c.1910

Ron Callender has published a small illustrated booklet Mr Driffield and Dr Hurter. Their lives & times in pictures. The booklet provides a useful summary of their lives and work. The booklet is available from Ron Callender for £4.50 including postage. Email: finlaggan@hotmail.com

The Royal Photographic Society is holding the next in its Hurter & Driffield Memorial Lecture series on 10 September in London. The series started in 1918. See: www.rps.org/sasson

Here's another offering from the new Media Space in London - good luck!

Fixed term part time contract until 31^st March 2013

The ScienceMuseum is world renowned for its historic collections, awe-inspiring galleries and inspirational exhibitions. Media Space is a major new gallery space development which will house a series of temporary exhibitions featuring the collections of NationalMediaMuseum and the ScienceMuseum. 

You’ll be based at the Science Museum and will be working to process the national and international loans for the first Media Space exhibition, Revelations. You will need to deliver collections registration and collections documentation work for the exhibition, creating records to a good standard in the object database (MIMSY XG) working as part of the team to ensure the objects are fully documented and ScienceMuseum policies are adhered to.

 During the project you will arrange delivery of objects to the museum from lenders. You will be required to work with Media Space  project staff and other museum staff including those in the Collections Information and Conservation and Collections Care teams. Experience in collections registration and dealing with insurance, indemnity and transportation of objects is essential.  

Interviews will be held on 21st September. Full details can be found here.

Job Details

Job Title:        Collections Information Officer, Loans, Media Space Project

Department:   Corporate and Collections Information, SMG

Location:        ScienceMuseum     

Reports to:     Collections Information Manager, SMG    

Part Time       18 hours per week

The Media Museum collection consists of over 100,000 objects including an important collection of 19^th and 20^th century photographs. Classification of these objects consist of early daguerreotypes and salt prints, albums and photographically illustrated books to contemporary colour photographs.

Qatar Museums Authority (QMA) has acquired masterpieces through the years, which QMA is committed to preserve and showcase to the world. QMA is dedicated to accomplish the vision of His Highness The Emir of Qatar through education and cultural interaction with communities in and outside of Qatar.

QMA’s mission is to unite and focus the efforts of all museums in the State of Qatar for the acquisition, preservation and interpretation of collections and monuments held in trust for the Qatari people, to be shared with national and tourist audiences.  In addition QMA will travel exhibitions or loan to other institutions to promote QMA’s mission abroad.

Job Title: Head Photograph Conservator

Organization Name:  Qatar Museums Authority, Media Museum Collection

Location: Doha, Qatar  

Brief Description/ Purpose of Job:

As the first full-time conservator to be hired for the Media Museum project you will be responsible for the long term preservation of the collections.  You will be responsible for managing the conservation laboratory and advising on a new laboratory design, plus treatment projects on rare photographs and planning an efficient workflow.

Detailed Description/Job Responsibilities:

Ability to perform comprehensive treatments on a wide variety of photographic materials, advising on the conservation aspects of any existing and new stores or display areas, advising on the display and use of the collections, carrying out condition surveys and preservation needs assessments, preparing written reports on survey findings, re-housing the collection as needed, advising the curatorial staff on conservation matters, ordering of conservation supplies, keeping up to date with developments in conservation and helping to organize an international conference & workshop on photographic conservation in the Middle East to take place in 2012.

Job Requirements:

MA or Accreditation with ICON in photographic conservation, qualifications in paper or photograph conservation completed recognized programs. 10 years professional work experience, a portfolio of conservation treatments & professional activities plus competence references.  

Additional Details:  

Salary range depending on qualifications. Position includes accommodation. 

For further information or questions please contact Nicholas Couts at ncouts@qma.org.qa

Deadline for applications is September 15, 2012. 

The Head Librarian, International Media Museum (IMM), is responsible for providing library and research services for the organization and maintenance of the photographic research library and its collections and establishing a public reference library.

SCOPE

The Head Librarian reports directly to the Museum Director and provides librarian and research services. Providing adequate services will ensure that materials are current and accessible, and available to library users when required.

RESPONSIBILITIES

1. Manage the planning, administrative and budgetary functions of library and information services

Main Activities

• Establish and implement library and information policies and procedures
• Develop and manage convenient, accessible library and information services
• Establish and manage the budget for library and information services, technology and media
• Develop and manage cost-effective library and information services, technology and media
• Order materials and maintain records for payment of invoices
• Analyze and evaluate library and information services, technology and media service requirements
• Prepare reports related to library and information services, technology and media services, resources and activities

2. Provide effective access to library collections and resources

Main Activities

• Develop and maintain collections management policies and procedures
• Perform original cataloguing and classification of print, audio-visual and electronic resources
• Develop and maintain special indexing systems and files for special collections

Librarian

3. Maintain the organization of library materials

Main Activities

• Ensure an accurate inventory of resources
• Ensure efficient retrieval by users
• Search external database programs for the availability of cataloguing copy
• Maintain inventories, compile statistics and generate reports as required
• Develop and maintain cataloguing procedures
• Distribute materials for cataloguing
• Determine the type of cataloguing required
• Enter cataloguing data into the library's automated system
• Process resources for placement on shelf
• File cards in shelf list
• Complete cataloguing records where only partial copy is available
• Index materials for the pamphlet collection

4. Provide library services in response to the information needs of library users

Main Activities

• Respond to daily on-site requests for information
• Train library users to effectively search the Library catalogue, Internet and other electronic resources
• Provide an interlibrary loan service for both book and audiovisual materials and maintain records
• Maintain records for the interlibrary loan service
• Maintain circulation files, records and statistics

5. Perform other related duties

KNOWLEDGE, SKILLS AND ABILITIES

Knowledge

Must have proficient knowledge in the following areas: 

• library policies, procedures, methods, ethics and professional standards
• library programming standards
• research and information gathering systems and methods
• a variety of information database systems
• conducting Internet searches
• organization and structure of the library
• other information and library resources
• computerized information database systems
• library systems for cataloguing,
• acquisitions and searching, on-line bibliographic utilities
• capabilities and information resources of the Internet and other electronic databases

Skills

Must demonstrate the following skills:

• ability to manage a library and its collection
• team building skills
• research skills
• organizational skills
• analytical and problem solving skills
• decision making skills
• effective verbal, presentation and listening skills
• effective written communications skills
• computer skills including the ability to
• operate computerized library, spreadsheet,
• word-processing, spreadsheets, email,
• development programs at a highly proficient level
• computer skills including the ability to
• operate email and conduct Internet research
• stress management skills
• time management skills
• familiarity with Symphony systems 

Personal Attributes

Must maintain strict confidentiality in performing the duties of the Librarian.

Must also demonstrate the following personal attributes:

• be honest and trustworthy
• be respectful
• possess cultural awareness and sensitivity
• be flexible
• demonstrate sound work ethics

WORKING CONDITIONS

Physical Demands

Environmental Conditions

The Head Librarian is usually the first point of contact for library users.

The head Librarian will spend a considerable amount of time in the library where there are constant interruptions and distractions.

Sensory Demands

Must be especially adept at listening to and understanding

• others from a variety of cultural backgrounds.

Mental Demands

Accuracy and attention to detail are essential when

classifying and organizing resources to ensure accessibility to library users.

Job is for a full-time position based in Qatar. 

Salary is competitive and accommodation is provided. 

Interested candidates should send CV to Dr. Marcia De Franceschi Neto mneto@qma.org.qa 

Consideration of candidates close on the 14 September

Are you an art curator looking to join a cross-discipline team exploring and questioning science, technology and visual media? The Science Museum Group is looking for two motivated individuals with experience of researching, developing and delivering artist-led exhibitions, events and participatory projects for adult audiences. You will be self-motivated and able to work effectively within a team and comfortable communicating with a range of people including artists, experts, colleagues, volunteers and students. You will be willing and able to balance creative curatorial work with routine and necessary tasks as and when appropriate.

Under direction, you will use your experience and enthusiasm to research and deliver ideas that utilise our world-class collections in an artist-led content programme. Previous experience of managing the delivery of art commissions, exhibitions and/or events is important.   

• Two posts
• One year fixed term
• Closing date 17 September 2012

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. If you are applying for more than one role please upload your CV and then answer online the role specific question.

In your covering statement please state why you feel you are suitable for this role. Please focus only on the experience you consider to be most relevant to this role.

Information for internal applicants  

The post is offered on SMG Enterprises terms, but employees currently on Museum terms may apply, and remain on Museum terms, subject to conditions to be discussed at time of offer.

This position will be offered as a secondment. Your department must be willing to release you and hold your post open for your return, and you are advised to check that this is possible before you apply.

SMG Job Description

Job Details

Job Title: Associate Curator, Media Space and Arts Programme

Department:Exhibition Unit

Location: ScienceMuseum, London 
Reports to :Head of Media Space and Arts Programme

Date: August 2012

Purpose of the Job

To research, develop and deliver Media Space and Art exhibitions, interventions, events, on-line and residencies, working with artists to investigate science, technology and visual media (photography, film, television and new media).

Key Deliverables/Accountabilities

• To manage up to five Programme Assistants/Assistant Curators, volunteers and placement students as required
• To research, develop and deliver an authoritative and innovative programme of exhibitions, events, residences and online content, to time, budget and quality
• To manage participatory practice and community engagement with arts projects
• To manage evening events and activities as part of the Media Space programme
• To ensure all processes and documentation are adhered to, liaising with colleagues across the museums including Collections, Conservation and Corporate and Collections Information departments
• To monitor budgets up to £50,000
• To administer consultancy agreements with artists in consultation with the Museum’s legal department
• To manage the delivery, including the management of contractors and consultants, of art installations both in Media Space and elsewhere as required in the ScienceMuseum
• To contribute to the development of sponsorship proposals and fundraising documents
• To build networks and generate new ideas and proposals through active research for the Media Space and Arts Programme
• 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

• Curator, Media Space and Arts Programme (line manager) – delivery of the content programme
• Head of Media Space and Arts Programme (senior line manager) – to ensure the content programme reflects Science Museum Group brands and values and is consistent with overall programming
• Collections (both at ScienceMuseum and NationalMediaMuseum) – delivery of high quality content and to develop the collections and understanding
• Design – delivery of high quality design for exhibitions and associated products
• Workshops – delivery and installation of gallery products
• Conservation – appropriate object handling, and display
• Corporate and Collections Information – loan and purchase agreements
• Learning – delivery of associated learning products
• Visitor research – co-develop interpretation strategies for exhibitions
• New Media – delivery of innovative multimedia products
• Development and fundraising – support the team and provide information for sponsors
• Marketing and communications – to ensure accurate and effective marketing and PR, maximising opportunities for external communications
• Artists – delivery installations
• External experts – research of high-quality content
• External contractors – construction of new exhibitions with specialist contractors

Line Management and Budget Responsibility

Directly line manages: Up to 2 Programme Assistants / Assistant Curators, plus volunteers, interns

Indirectly line manages: None

Contractors/freelancers: Ongoing management/liaison of relationships and contracts

Budget Holder of £ Up to £50K project budgets

Candidate Profile

Experience

• Demonstrable evidence of developing sound curatorial ideas and innovative ways of engaging audiences with content
• Demonstrable evidence of managing the delivery of audience-focused exhibitions, events and artworks in museums or large-scale visitor attractions
• Experience/understanding of community engagement and participatory practice with artists/art projects
• Experience/understanding of the challenges involved with delivering themes to an adult audience
• Demonstrable experience of commissioning and working with artists/photographers to develop concepts and ideas
• Demonstrable experience of working with subject specialists to deliver accurate, engaging content for non-specialist target audiences
• Demonstrable experience of event and/or conference development, organisation and delivery
• Demonstrable experience of the two-dimensional and three-dimensional exhibition design process
• Demonstrable evidence of effectively working in a team, supporting colleagues and managing stakeholders
• Good external networks and understanding of the display of contemporary art and photography
• Experience/understanding of the management of staff

Skills, Knowledge and Relevant Qualifications

• A proven record in communicating art, media art and science through exhibitions or live events
• Strong curatorial skills with a critical awareness of contemporary art and/or photography discourses
• A degree in an arts-related subject, or equivalent experience
• Strong communication skills and ability to liaise with photographers, artists and external specialists/organisations
• Ability to research and develop accurate and engaging content within tight deadlines
• Proven track record of delivering projects on time that involves co-ordination of a number of stakeholders
• Proven ability to work effectively on more than one project simultaneously, managing different programmes to achieve high quality results
• Ability to manage and deliver complex live events with a number of stakeholders 
• Excellent research skills and ability to originate ideas
• Evidence of strong negotiation and influencing skills
• Evidence of managing resources carefully
• Evidence of coordinating the work of different teams within demanding timescales
• Good writing skills
• Familiarity with and experience of the PRINCE 2 project management system

Behaviours

• Ability to multi-task and prioritise effectively
• Ability to react positively to change and uncertainty
• Ability to work to tight deadlines, often in pressured environments
• Ability to follow directed research creatively
• Proactive and organised in approach to work, with attention to detail
• Ability to work collaboratively with colleagues and stakeholders of different backgrounds, supporting and learning from other team members
• Ability to work well within teams located over more than one site
• Ability to manage projects effectively, maintaining excellent standards and effective communication
• Enthusiastic and committed to delivering innovative projects
• Encourages creativity and supports innovation and work of the highest quality
• Motivate, develop and support staff to ensure a cohesive, skilled and focused team

Scope for Impact

• Delivery of high quality, life-enhancing, audience focused experiences that increase visitor awareness of media art and the collections of the Science Museum Group
• Delivery of exhibitions that are world-class standards in curation, exhibition, presentation and display of photography and contemporary art
• Delivery of a regular, rich, engaging programming of innovative products that enhances the Museum’s reputation and establishes the Museum at the forefront of the field
• Extend the reach of the Museum by developing new products that appeal to an adult audience
• Increase breadth of the collections by suggesting programming ideas that proactively increase the collections

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
• This role will require some evening work

More information: https://vacancies.nmsi.ac.uk/VacancyDetails.aspx?FromSearch=True&MenuID=6Dqy3cKIDOg=&VacancyID=228

Don't forget - the next London Photograph Fair is on September 9th - with 40 dealers exhibiting vintage and modern photography, alongside a wide range of photobooks. New exhbitors include Dennis and Erin Waters from the USA (www.finedags.com) and from Israel, Vivienne Silver-Brody (http://www.viviennesilver-brody.com/). We're open 10am - 4pm and admission is £3 - or free after 2pm on production of a voucher from info@photofair.co.uk.
We've set some provisional dates for 2013 - they will be confirmed within the next couple of weeks.

March 10th

June 16th

September 8th

November 10th or 17th

The London Photograph Fair

Image:  Roy Brody, "Bedouin Hands,"1970s, 27.8  x 18.5cms, digital print, £450 pounds

(Vivienne Silver-Brody)

Between 1985 and 1995 the RCA in London was an international centre of excellence for artists working with holography. A forthcoming retrospective exhibition at The Glue Factory in Glasgow is the first to focus on this remarkably creative episode in the history of this relatively new and still developing medium, and a rare opportunity to see some of the groundbreaking work produced then.

For more information at http://www.thegluefactory.org/index.php?/events/september-weekend-event/

Image: Hologram of the Royal College of Art emblem by Jonathan Cope

The National Portrait Gallery is to allow free downloads and non-commercial use of its images, reports Museums Journal. The change means that more than 53,000 low-resolution images are now available free of charge to non-commercial users through a standard Creative Commons licence. More than 87,000 high-resolution images are available for free for academic use through the gallery’s own licence. Users will be invited to give a donation in return for the service. 

Tom Morgan, head of rights and reproductions at the NPG, said: “Image licensing is really important to the NPG and across the sector, and we’ve always been keen to carefully manage the balance between what we make available for free and what we charge for"

The NPG joins a growing list of major museums opening up their image collections free of charge.

For more on this see: http://www.museumsassociation.org/museums-journal/news/22082012-npg-changes-image-licensing-to-allow-free-downloads

Did you know that almost 80 years ago, Scotland's Daily Record was the first newspaper in the world to use colour? This was a ground-breaking achievement that eventually lead the world to colour printing and photography. 

Over the next two weeks they will reveal more stunning pictures from their photographic collection – from the iconic to the never before published – covering the world of celebrity, sport, work and play.

We have in our archives a large (10,000+) collection of glass plate negatives which came from the Edwardian photographer David Knights-Whittome. We're beginning work on a project to preserve and make them more widely available. This will be a massive task as some of the plates are broken but worse some are stuck to their original envelopes or image pealing off. As a starting point I've set up a small Flickr set here : http://www.flickr.com/photos/38156052@N05/sets/72157631016526978/

I hope you enjoy and please comment. You can see his work was varied and included the well to-do. many thanks,

Kath.

A new 60-minute documentary for ITV1 follows the residents of one East London street as they attempt to turn back the clock and re-enact a street party held for the Coronation to the last detail. Part of the programme recreated Picture Post photographer John Chillingworth's 1953 classic photograph with John using the same models of cameras that he had back in the 1950s. John comments: "I can remember being there, now again, looking at the pictures… it is like yesterday.”

From tracking down the original party-goers, piecing together peoples’ memories of the day Morpeth Street held its party in 1953, to recreating the original Spam sandwiches and photographs, what unfolds is a fascinating look into the lives of people in post-war Britain.  One of the main obstacles facing the 2012 party’s organisers is that the street has changed beyond all recognition – where there were once Victorian terraced houses now stand 1960s tower blocks.

Narrated by Sarah Lancashire, the factual documentary charts how Morpeth Street resident Ruth Scola teams up with other locals to bring the street party together and shows the parallels between life in 1953 and 2012. Ruth’s fellow organiser Elaine Embery says: “We are trying to recreate exactly what happened 60 years ago, so I would really love you all to get involved. Sandwiches, yes. Bunting, yes. I want you all to get on your telephones, try and get people who were involved at that time. If not try to get involved yourself because getting together and doing something like this would be wonderful.” 

Many of the people in the photos taken by Picture Post photographer John Chilllingworth no longer live in the area. But then-teenage waitress Ruth Scola’s father put the original event together.  “Well, he started it up and we didn’t think it would be anything like this. When the Picture Post came down, we thought ‘Hello, what’s going on here then?’ It worked out wonderfully really, it was really lovely.” 

Britain Then and Now,

Episode 1 is aired on ITV1 on Wednesday, 29 August 2012, 9:00PM - 10:00PM (subject to change)

Photographs: above: John Chillingworth by Matt Frost / ITV; Right: John Chillingworth, from his original Picture Post story.

Included in the 'Catchers of the Light' - a History of Astrophotography is a chapter on Frederick Scott Archer. As such it represents the first biography of this much neglected pioneer of photography; based on research into contemporary documentary records, which correct many of the errors and inaccuracies found in the usual sources.

For example, it is usually stated that FSA was born in Bishops Stortford, Hertfordshire, England in 1813, the son of a butcher and that he was orphaned at an early age. All of this is a myth. Primary contemporary records held in the Hertfordshire Archives and Local Studies office, prove beyond doubt that he was in fact born at Bull Plain, Hertford on the 30th of August 1814.

Although his mother died in 1817 when he was two years old, his father Thomas Archer remarried in 1830 when FSA was fifteen. Furthermore his father was no ordinary butcher, but an influential citizen of Hertford, a wealthy farmer and supplier of meat, who became the town's mayor in 1818. In 1820 Thomas Archer was declared a bankrupt and two years later the subject of a trial at the Assize Court.

New research indicates that FSA was greatly influenced by the landscape artist, J. M. W. Turner and that almost all of his photographic output were the subject of drawings or paintings by this giant of art.

The introduction of the wet collodion process in 1851 by FSA marked the end of the use of the daguerreotype in astronomical photography and in doing launched the next stage in its development: "In 1851 Scott Archer and Dr. Diamond introduced the collodion process in practical form, and this finally prepared the way for such a worker as Mr. De La Rue; for the introduction of the collodion process was an event in photography second only in importance to the discovery by Daguerre in 1839." Lady Margaret Lindsay Murray Huggins, pioneer of astronomical photography, 1889

Only with the introduction of 'mass produced' Gelatino-Bromide 'dry' photographic plates from the late 1870s and early 1880s was Archer's wet collodion process replaced in astronomical photography:

The FSA biography is available here:

http://www.catchersofthelight.com/shop/item.aspx/i-2-frederick-scott-archer/2/