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Article: Dry Plates for Canada

31017000085?profile=RESIZE_400xThe Canadian Science and Technology Historical Association (CSTHA) has awarded its Jarrell Prize for the period 2022-2024 to Shannon Perry for “Perfect Dry Plates for Canada”: Gelatine Dry-Plate Manufacturing in Canada in the Late Nineteenth Century published in Volume 44, number 1, 2022, the special issue Photography: Science, Technology and Practice, edited by Joan M. Schwartz. It is a available on open access. 

The abstract notes that the article seeks to identify the commercial efforts of Canadian photographers to manufacture and distribute gelatin dry-plates in the 19th century. Using archival material and published advertisements, several companies including the Stanley Dry Plate Company of Montreal are identified and positioned within the photographic manufacturing landscape in Canada. In doing so, the commercial efforts of Canadian manufacturers are contrasted with the parallel developments in dry-plate manufacturing in the United States and England, further situating Canada’s photographic manufacturing history within a broader context.

The full issue with other papers of interest can be seen and downloaded here

Shannon Perry teaches history of photography, and archival theory and practice at Carleton University. She has worked at Library and Archives Canada in Ottawa, Ontario, for over a decade as a private and government archivist, specializing in photography. Her research focuses on Kodak, and the photographic industry in Canada more broadly, in the 19th and early 20th centuries, and was the focus of her PhD thesis The Eastman Kodak Co. and the Canadian Kodak Co. Ltd: Re-structuring the Canadian photographic industry, c.1885-1910 (De Montfort University, 2016), and a forthcoming monograph,When Kodak Came to Town (U of T Press).

The Prize was established in 2015 in honour of CSTHA founding member, Dr. Richard Jarrell, who passed away in 2013. The biennial prize recognizes the best article published in Scientia Canadensis over the previous two years and comes with an award of $500.

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In passing: Martin Parr CBE (1952-2025)

BPH was saddened to learn this morning of the unexpected death of Martin Parr. Once described as 'Britain's best known photographer' Martin studied photography at Manchester Polytechnic in the 1970s and came into public consciousness with his seminal publication of colour photography The Last Resort concisting photographs made in New Brighton between 1983 and 1985. He joined Magnum as a full member in 1994, in the face of sustained opposition from traditionalists. Martin produced over 100 photobooks and was working up to his death on new photography and publications. 

Martin sold one of his collections of photobooks to the Tate, some 12,000 titles, in 2017 and the funds were used to set up the Martin Foundation which opened in Bristol the same year, although it had been incorporated in 2014. Its aims were to support British and Irish documentary photographers and their works. The Foundation developed a significant exhibition programme, initiated the Bristol Photo Festival, as well as housing an important collection of photobooks, other photographers' collections, along with Martin's own archive. It is now one of the most significant archives of postwar British photography. 

He is survived by his wife, Susie, daughter Ellen, his sister Vivien

Martin was awarded a CBE for servvices to photography in 2021 and the Royal Photographic Society's Honorary Fellowship in 2005 and Centenary Medal in 2008.   

More to follow... 

See: https://martinparrfoundation.org/about/

and https://www.magnumphotos.com/newsroom/martin-parr-1952-2025/

Photo: Michael Pritchard. Martin Parr at BOP 2023, Bristol. 

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Blog: Lizzie Caswall Smith

31007859462?profile=RESIZE_400xLizzie Caswall Smith is the subject of a new blog post by Dick Weindling and Marianne Colloms, as part of a series looking at stories about the history of Kilburn, Willesden, West Hampstead and other parts of London. Rooted in genealogical and local history research the blog adds new information to her story and corrects factual errors.

Read it here: https://kilburnwesthampstead.blogspot.com/2025/12/lizzie-caswall-smith-famous-photographer.html

Image: Lizzie with harp, by her brother John Caswall Smith (Ancestry, John Smith, Scunthorpe).

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31007853267?profile=RESIZE_400xThroughout the year, NICAS organizes a bi-weekly Colloquium featuring short lunch lectures where researchers share updates, present new ideas, or discuss the outcomes of their work. The Colloquium aims to keep the field informed about the latest developments, foster the exchange of knowledge, and encourage collaboration.

Conservation scientists have studied daguerreotypes extensively, but surface metrology has only been used experimentally to examine their surfaces so far. Non-contact optical confocal microscopes provide Z-axis data points within a scanned X-Y area, which can be used to calculate heights, depths, widths and roughness, as well as to generate 3D surface maps with sub-micron resolution. In the context of my PhD research on the history and techniques of early printing methods for daguerreotypes, this talk explores the use of confocal microscopy to compare the microtopography of traditional intaglio copper plates with daguerreotypes that were acid-etched to convert them into printing matrices. By combining the topographical maps with data from scanning electron microscopy (SEM) and X-ray fluorescence spectroscopy (XRF), we can deepen our understanding of the materials, functionality and sensitivities of etched daguerreotypes. It is hoped that the applications described here may benefit other cultural heritage studies.

Biography
Martin Jürgens is conservator of photographs at the Rijksmuseum Amsterdam. Before coming to the Netherlands, he worked as a conservator in private practice in Hamburg. His education includes a German diploma in photography and design, an M.S. from Rochester Institute of Technology and an M.A. in Conservation from Queen’s University in Kingston, Canada. Following his scholarship at the Getty Museum, the Getty Conservation Institute published his book The Digital Print. Identification and Preservation in 2009. He is currently a part-time PhD student at the Photographic History Research Centre at De Montfort University in Leicester, UK.

Explorative surface metrology of intaglio printing plates and etched daguerreotypes with optical confocal microscopy
Martin Jurgens, haired by Margriet van Eikema Hommes
organised by the Netherlands Institute for Conservation, Art and Science
11 December 2025, 1200-1300 (CET); 1100-1200 (GMT/UTC)

Free but register here: https://www.nicas-research.nl/event/nicas-colloquium-online-11-december-2025/

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31007414662?profile=RESIZE_400xPiece against the forthcoming RSM sale... The Royal Society of Medicine is putting some of its rarest books and photographs up for sale at Christie’s this month. Is this a case of medical negligence?

[BPH edit: part of the key text is here. Read the full piece at the link below] The Royal Society of Medicine (RSM) is to sell some of the most prized books in its historic library at Christie’s, London, on 10 December. The sale consists of 99 lots chosen from across the collection, including rare and unique volumes...Christie’s explains that selections for the sale were made after extensive back and forth with RSM decision-makers. Yet it is hard to see how certain items were deemed expendable, such as 22 early photographs by Hugh Welch Diamond of psychiatric patients from the Surrey County Lunatic Asylum, made in the 1850s. Photographs by Diamond are exceedingly scarce and represent major developments in psychiatric and photographic history. Diamond theorised that portraits made of patients could be used to both document and treat them, since sitters could be shown their pictures to help them better understand the state they were in.

https://apollo-magazine.com/royal-society-medicine-christies-auction-rare-books-photographs/

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BPH notes: the sale was reported here: https://britishphotohistory.ning.com/profiles/blogs/auction-hugh-welch-diamond-and-early-photography-london-10-decemb In a follow up the RSM supplied a comment which was taken from the sale press release: 

“Proceeds will be directly invested into strengthening the RSM's offer, delivering clear benefits for their members: modernised spaces, enhanced digital platforms, and expanded learning opportunities. Items not yet online will be professionally digitised, ensuring lasting access to educate and inspire generations to come.” 

It referred subsequent enquries to Christie's. Specific questions to the RSM were not asnwered directly beyond the statement noted, and the same questions, below, have also been put to Christie's: 

  • What criteria was used to determine what is to be sold?
  • What is the reason behind the sale?
  • What will the money raised be used for?
  • In view of Christie’s buyer’s premium, can you confirm that the RSM negotiated no commission/charges on the sale to maximise the income to the Society?

 In the event the photographs are sold to a buyer outside of the UK then RSM may have to wait for its money as they will be likely subject to an export licence.  

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Discover the untold story of seven remarkable sisters who helped shape the 19th-century cultural spirit. Step into the vivid, unconventional world of Women of Influence: The Pattle Sisters, an exhibition at Watts Gallery in Surrey.

This exhibition brings to life the legacy of seven extraordinary Anglo-Indian sisters whose influence rippled through the worlds of art, literature, photography, and society. Nicknamed “Pattledom” by the writer William Makepeace Thackeray (1811–1863), the sisters’ world was one of rich cross-cultural exchange, where Anglo-Indian heritage, European influence, and artistic experimentation converged in a vibrant social sphere that defied Victorian convention.

Whilst the photographer Julia Margaret Cameron (1815–1879) is today the most celebrated of the seven Pattle sisters, this exhibition uncovers their collective impact through artistic experimentation, intellectual exchange, and the creation of an extraordinary cultural salon at Little Holland House in Kensington. Here, artists, writers, scientists, musicians, and politicians gathered each week, drawn into the orbit of the dynamic Pattle women and the visionary painter G F Watts, who lived and worked amongst them.

Through rarely seen portraits, evocative photographs, treasured possessions, and new research, visitors will meet the wider sisterhood and discover how their influence extended from Calcutta, India (now Kolkata) to Kensington, and from the salons of Little Holland House to the Bloomsbury Group.

31006792859?profile=RESIZE_400xA new book accompanies the exhibition Women of Influence: The Pattle Sisters at Watts Gallery, which is the first to explore the lives, influence, and legacy of the seven Pattle sisters: Adeline, Julia, Sara, Mia, Louisa, Virginia and Sophia. Born and raised in India and educated in France, the sisters became renowned for their wit, talent, style and the influential artistic salons they hosted at Little Holland House in London.

Drawing on new research, and featuring essays by Emily Burns, Caroline Dakers, Gursimran Oberoi, William Dalrymple, Jeff Rosen and Marion Dell, this book reveals how the Pattle sisters helped shape nineteenth-century art, ideas and society in ways that continue to reverberate today.

Women of Influence: The Pattle Sisters
until 4 May 2026
Watts Gallery, Down Lane, Compton, Surrey, GU3 1DQ
See: https://www.wattsgallery.org.uk/exhibitions/women-of-influence-the-pattle-sisters

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31005997456?profile=RESIZE_400xThe newly relaunched journal Visual Culture in Britain is offering two prizes. The Pete James Collection Prize 2026, is in collaboration with Birmingham City University which houses Pete's archive. Applicants are invited to spend time with the Pete James Collection at Birmingham City University.

The Peter James Collection Prize aims to support researchers at any career stage with access to the collection, staff mentorship and a prize of £1000 co-supported by the institution and the Journal of Visual Culture in Britain on behalf of Taylor & Francis. The successful applicant will be expected to submit a Visual Culture in Focus article (2,000-4,000-word) (see guidance here: Learn about Visual Culture in Britain) by Tuesday 1st September 2026. The money will be awarded on submission and acceptance of the article. This will then be published in the final issue of the year (December 2026). Applications for the 2026 prize is open until Monday 05th January 2026. The collection will be accessible between February and July 2026.

To celebrate the relaunch the JVCB has announced an essay prize for original research articles that build on the editorial vision of the journal. It encourages critical approaches that propose novel or expansive ways of rethinking the journal’s title - what does ‘visual culture in Britain’ look like today? - by engaging with visual culture’s past, present or future histories.

The competition aims to highlight and celebrate original research on any aspect of visual culture and is open to scholars at all career levels. Submissions are welcome from all regions but must be written in English. The essay, unpublished, will be between 6,000 and 8,000 words in length and follow the guidelines outlined on the journal webpage here.

The winner will receive:

  • Publication in Visual Culture in Britain following the peer-review process. Please note that any image costs will need to be covered by the prize winner.

  • £500 cash prize.

All entries will be considered for submission to the journal. Runners up will receive expert feedback and editorial support towards peer review and publication.

Entries must be submitted by Monday 27th April 2026 to vcbessayprize@gmail.com All entries will be reviewed and shortlisted by the editors against criteria of academic rigour, originality and advancement of visual culture methodologies. The shortlisted essays will then be submitted to a panel composed of members of our Advisory Board who will select the winner. Decisions will be communicated in June 2026. The winner will be published in our December 2026 issue.

Appearing three times a year, Visual Culture in Britain is dedicated to exploring the generative interrelations between visual culture, individuals, and societies in Britain, both historically and today. The journal publishes new peer-reviewed scholarship that investigates the forms, spaces, processes, and politics through which visual worlds/materials are made meaningful, and examines their effects within an expanded and unsettled concept of ‘Britishness’. Visual Culture in Britain is inclusive and interdisciplinary, welcoming submissions at any time, for original articles, features, special issues, and reviews. The editors are: Gary Bratchford, Birmingham City University, Sara Dominici, University of Westminster, and Victoria Horne, Northumbria University.

See more: Pete James Collection Prize 2026 and Eassy Prize and past articles and open access articles here

 

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The UK Department of Culture, Media and Sport has published museum visitor numbers to September 2025. This set is of particular interest as it includes the period when the museum had fully open with its Sound and Vision galleries from July 2025. The graph below shows the equivalent period (July-September) from 2019 and includes the covid lockdowns and period when the museum was closed for refurbishment.  

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31005985858?profile=RESIZE_400xWe invite proposals for conference papers, performances and workshops examining darkness and its intersections with photography, exploring all facets including but not limited to: technology and the black box; the darkroom and laboratory; artificial darkness; dark skies and landscape; mining and minerals; archaeology, the subterranean or underground, technologies of vision; race and identity, including the politics of visibility and invisibility; psyche and wellbeing; the body, interiority and its shadow; architecture after Tanizaki; contemporary politics and totalitarianism; incarceration and punishment; technological limit and failure; blackouts; scientific imaging and black holes. 

Darkness: A Photography Conference 
Organised by the Photography programme of the School of Digital Arts, Manchester School of Art.
19-20 March 2026
Call for papers, performances and workshops: Deadline 12 December 2025

Please send paper abstracts (of a maximum of 300 words), performance proposals (of 200 words plus 2-3 images or 2 minutes of footage) and workshop proposals (200 words, 2-3 images and a list of materials or media requirements) to Duncan Wooldridge at d.wooldridge@mmu.ac.uk by 5pm, 12th December 2025

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12313217098?profile=RESIZE_400xThe annual Kraszna-Krausz Book Awards celebrate excellence in photography and moving image publishing. They recognise individuals who have made an outstanding or original contribution to the literature, art or practice of photography or the moving image. Two winning titles are selected: one in the field of photography and one in the field of the moving image. The author/s or editor/s of each winning book receive a £5,000 cash prize.

Submissions are welcome from publishers, authors, collectives and individuals self-publishing their work. There is no entry fee.

  • Books must be published between 1 January and 31 December 2025
  • Books must be published, distributed or available to buy (including online) in the UK

Further details, terms and conditions, and the entry form for the 2026 Awards can be found here.

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31005984077?profile=RESIZE_400xWomen Photographers 1900–1975: A Legacy of Light celebrates the wide-ranging photographic practices of more than eighty women artists working between 1900 and 1975. Featuring prints, postcards, photobooks and magazines, the exhibition explores the role of photographers as image-makers, and the ways in which women artists create an image of themselves, of others, of the times – from images of the women’s suffrage movement at the turn of the twentieth century, through to the women’s liberation movement and beyond. From Melbourne to Tokyo, Paris to Buenos Aires, the exhibition showcases the works of trailblazing artists such as Berenice Abbott, Lola Álvarez Bravo, Claude Cahun and Marcel Moore, Imogen Cunningham, Mikki Ferrill, Sue Ford, Christine Godden, Ponch Hawkes, Annemarie Heinrich, Ruth Hollick, Florence Henri, Kati Horna, Germaine Krull, Tina Modotti, Lucia Moholy, Toyoko Tokiwa, Yamazawa Eiko and many more.

The exhibition reflects a recent collecting focus on celebrating the contributions of women artists of the early twentieth century in the NGV Photography Collection. Featuring portraiture, photojournalism, landscape photography, photomontage, experimental avant-garde imagery and more, Women Photographers 1900–1975: A Legacy of Light presents the diverse work of women photographers against the backdrop of significant social, political and cultural events.

Opening in November 2025, the exhibition coincides with the fifty-year anniversary of International Women’s Year 1975, which established the United Nations’ annual celebration of International Women’s Day.

Women Photographers 1900–1975: A Legacy of Light
until 3 May 2026
NGV, Melbourne, Australia

See: https://www.ngv.vic.gov.au/exhibition/women-photographers-1900-1975/

See: https://www.theguardian.com/artanddesign/gallery/2025/nov/30/women-photographers-1900-to-1975-a-legacy-of-light-in-pictures

Image: Gertrude KASEBIER, The gargoyle (c. 1900), platinum photograph, National Gallery of Victoria, Melbourne, Purchased through The Art Foundation of Victoria with the assistance of the Herald & Weekly Times Limited, Fellow, 1979. PH27-1979

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31005983078?profile=RESIZE_400xAnne Brigman who exhibited with the Royal Photographic Society and has work in the RPS Collection is the subject of a new book. In 1902, after eight years of marriage, Anne Brigman saw a photography exhibition that changed her life. It awakened in her a passion as an artist -- an artist not just in photography but in the theater and in literature. She was awakened as a woman to levels of freedom and expression she had not enjoyed before. For her, this new calling was a fight and she was determined from the first to succeed in it. It wasn't long before her photographs of nude females posed in the Sierra Nevada Mountains were commanding attention internationally and in the influential photographic circles on the East Coast led by Alfred Stieglitz. Quickly she rose to a place among the highest ranks of those recognized as artistic photographers in the pictorialist period in photographic history. In 1910 she left her comfortable middle-class life and devoted herself completely to this life as an artist. And in this life she was constantly renewing herself. In her senior years she explored the gift for writing she had long known she had. She wrote poetry giving voice to the many beautiful photographs she had created over the years and combined these in two books of photographs and poems. Hers was a full, free life of artistic expression, a monument to the kind of freedom women across the society were longing for and finding in a variety of ways.

In her later years Brigman developed romantic relationships with other women. This is the first study of Brigman to document and discuss her sexuality and its influence on her photography and poetry.

James Rhem is an independent scholar in the history of photography. His previous books include Ralph Eugene Meatyard: The Family Album of Lucybelle Crater and Other Figurative Photographs (New York: D.A.P., 2002), the Photo Poche Ralph Eugene Meatyard (Paris: Editions Nathan, 2000), and the Phaidon 55 Aaron Siskind (London: Phaidon Press, 2003). He has written catalogue essays on Wynn Bullock (Chicago: Daiter Gallery, 2002) and articles on August Sander and William Eggleson for San Francisco Museum of Modern Art's photography newsletter, fotoforum Fall/Winter 2002-2004, as well as numerous reviews of photographic exhibitions for local and regional publications. He took a doctorate in English Literature from the University of Wisconsin-Madison in 1979 and is the founding Executive Editor of The National Teaching & Learning FORUM, a publication on college teaching that he created in 1990. His involvement with photography, which began as a teenager, is both aesthetic and technical. He has been an exhibiting photographer whose work has been shown in nationally juried exhibitions. At least one of his regional exhibitions included only photography created via antique processes.

Anne Brigman's Songs: Her Life, Her Photographs, Her Poems
James Rhem
James Rhem & Associates, LLC, 2025
ISBN: 9798218657925
£73 (approx), 376 pages
See: https://itascabooks.com

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The Martin Parr Foundation is seeking to appoint two new Trustees to its board. Launched in 2017, the Foundation is a charity that supports emerging, established and overlooked photographers who have made and continue to make work focussed on the British Isles. It preserves a growing collection of significant photographic works and strives to make photography engaging and accessible for all.

The Foundation is seeking individuals with a passionate interest in photography, who can offer commitment, time, the ability to work collaboratively and an understanding of the principles of good governance. In addition, it is looking for candidates with significant experience in one or both of the following areas:

  • Business and/or finance
  • The photography industry

Further details, including timeline, term of appointment and how to apply are available via the MPF website.

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With the 2025 Routledge publication Conservation of Photographs: Significance, Use, and Care as a starting point, we are pleased to announce the following upcoming international program. Join leaders and allied professionals in a free online exploration of the evolving field of photograph conservation.

Co-Organized by the American Institute for Conservation, Photographic Materials Group (AIC PMG), and the International Council of Museums - Committee for Conservation, Photographic Materials Working Group (ICOM-CC PMWG), this session promises to be an engaging and far-reaching exchange among colleagues dedicated to the preservation and understanding of photographic heritage. 

Program Title: Conservation of Photographs: Significance, Use, Care, and Direction
Wednesday, December 3, 2025
Time: 08:00 EST / 13:00 GMT / 14:00 CET / 21:00 HKT
Duration: 2 hours
Registration will be free, see: https://www.icom-cc.org/en/news/conservation-of-photographs-significance-use-care-and-direction-icom-cc-photographic-materials-working-group
 

Image: The Met's dedicated photograph conservation lab in 2001, seen here before it was fully occupied. Pictured from left to right are Nora Kennedy, Erin Murphy, Adrienne Lundgren, and Nancy Reinhold. Image credit: Juan Trujillo.

Programme

Welcome

Dr. Richard Mulholland. Senior Lecturer, Northumbria University and ICOM-CC Photographic Materials Working Group Coordinator (UK)
Tatiana Cole. Conservator of Photographs, Harvard Art Museums and AIC Photographic Materials Group Chair (USA)

 Book Editors’ Remarks: Context and vision behind Conservation of Photographs: Significance, Use, and Care

Nora Kennedy. Sherman Fairchild Conservator in Charge, The Metropolitan Museum of Art (USA)
Bertrand Lavédrine. Full Professor, Muséum National d’Histoire Naturelle (France)
Debbie Hess Norris. Chair and Professor, Art Conservation Department, University of Delaware (USA)
Moderator: Luisa Casella. Independent Photograph Conservator (USA) 

Purpose and Value of Photograph Holdings Around the World - Now and in the Future

Soledad Abarca. Director, National Library of Chile (Chile)
Sérgio Burgi. Head Curator of Photography, Instituto Moreira Salles (Brazil)
Denise Bethel. Independent Advisor, Researcher, Writer, Lecturer (USA)
Moderator: Clara von Waldthausen. Director, MA Programme Conservation and Restoration of Cultural Heritage, University of Amsterdam (Netherlands)

Global Challenges, Education, and Building Capacity

Paul Ninson. Founder and Executive Director, Dikan (Ghana)
Estíbaliz Guzmán. Senior Conservator of Photographs, Centro Instituto Nacional de Antropología e Historia (Mexico)
Girikumar. Conservator in Private Practice (India)
Moderator: Dr. Richard Mulholland.Senior Lecturer, Northumbria University and ICOM-CC Photographic Materials Working Group Coordinator (UK)


Future Direction in the Field of Photograph Conservation

Rana Nasser Eddin. Director, Arab Image Foundation (Lebanon)
Fred Ritchin. Author, Educator, Editor, and Curator (USA)
Paul Messier. Photographic Print Research, Analysis and Consulting (USA)
Moderator: Marta García Celma. Senior Conservator, M+ Museum (Hong Kong)

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On February 7, 2026, the Nederlands Fotomuseum, the National Museum of Photography, will open its doors in the recently renovated Santos warehouse, a national monument located on Rotterdam's Rijnhaven. With over 6.5 million objects, the museum has one of the largest museum collections of photography in the world. In this monumental building, cultural heritage, architecture, and a contemporary museum presentation come together to create an international meeting place for photography.

30995956301?profile=RESIZE_400xNational Museum of Photography
The Nederlands Fotomuseum is the National Museum of Photography of the Netherlands: it collects, preserves, studies, and presents Dutch photographic heritage. The museum occupies a key position in Dutch photography. Photography was embraced early on in the Netherlands as an art form and as a means of capturing modern society. After the Second World War, a socially engaged style developed that became internationally influential, while contemporary photographers explore new artistic directions.

State-of-the-art accommodation
The opening in the Santos warehouse heralds a new chapter for the most important centre for photography in the Netherlands. In the nine-story state-of-the-art building—one of the best-preserved historic warehouses in the country—visitors will not only have access to masterpieces from the national collection, but also a unique glimpse behind the scenes in the open storage rooms and restoration workshops. This new museum houses the Gallery of Honour of Dutch Photography, temporary exhibitions and educational spaces. It also has a library with the largest collection of photo books in Europe, a darkroom, open studio spaces, a café and a restaurant with a panoramic view of the Rotterdam skyline. The move to Santos was made possible thanks to a generous donation from the Droom en Daad Foundation.

Open storage areas and studios
The collection and the studio spaces are located in the heart of the building, spread over two floors. Glass walls allow visitors to take a look behind the scenes: the open depots display a selection from the archive, together with special and remarkable objects from the collection, while the visitor can also see specialists at work on restoration and conservation in the studios.
 
30995963054?profile=RESIZE_400xGallery of Honour: the heart of Dutch photography
The Gallery of Honour of Dutch Photography shows the development of photography in the Netherlands – from the invention of photography in 1839 to the current age. These rooms display 99 special photographs that have been chosen for their social and artistic impact and include masterpieces by Anton Corbijn, Dana Lixenberg, Violette Cornelius, Ed van der Elsken, Paul Huf, Rineke Dijkstra, and Erwin Olaf. The 100th work in the exhibition will be chosen by visitors. The display within the Gallery of Honour is undergoing a transformation tailored to the new building.
 

Opening exhibition: Rotterdam in Focus
Rotterdam in Focus: The City in Photographs 1843 – Now offers an impressive overview of photography of the city from 1843 to the present day. More than 300 photos unfold the development of photography over a period of some 180 years. They were taken by both professional and amateur photographers. Iconic photographers such as Hans Aarsman, Iwan Baan, Eva Besnyö, Henri Berssenbrugge, Johann Georg Hameter, Helena van der Kraan, Jannes Linders, Cas Oorthuys, Otto Snoek and others show how a changing Rotterdam constantly challenges us to find new ways of looking, observing, and photographing. The exhibition includes work from leading collections, including those of the Nederlands Fotomuseum, the Stadsarchief Rotterdam, the Dutch Royal Collections, and the Maria Austria Institute. The exhibition has been curated by guest curators Frits Gierstberg and Joop de Jong and will be on display until May 24, 2026. The book of the same name will be published by nai010.

30995960464?profile=RESIZE_400xOpening exhibition: Awakening in Blue
The exhibition Awakening in Blue: An Ode to Cyanotype celebrates the timeless beauty of one of the oldest and most recognisable photographic techniques: cyanotype. The deep blue medium is known for its artisanal character and its slow, direct working method. In addition to rare, early blueprints, the exhibition features work by fifteen contemporary artists. They breathe new life into this nineteenth-century technique, combining it with new media and a variety of materials. Their work explores current themes such as ecology, colonialism and the body as a living archive. The exhibition is designed by MAISON the FAUX, a Dutch interdisciplinary collective known for their groundbreaking work at the intersection of fashion, performance, and installation art. The exhibition runs until June 7, 2026.

Living room for photography
The ground floor will be an inviting meeting place with a café, library, museum shop and reception desk. Visitors are welcome here even without a ticket and can walk in freely. In this ‘living room for photography’, they can meet each other, have a drink, read, and watch the short film that Photographer of the Netherlands Marwan Magroun (Rotterdam, 1985) made especially for the reopening of the Nederlands Fotomuseum.
 

About the Santos warehouse
The monumental Santos warehouse was built between 1901 and 1902 by Rotterdam architects J.P. Stok Wzn and J.J. Kanters, and is one of the best-preserved and most beautiful examples of early 20th-century warehouse architecture. The building was originally designed as a storage facility for coffee from the Brazilian port city of Santos and has been listed as a national monument since 2000. The renovation and expansion of the building was carried out by the German architectural firm RENNER HAINKE WIRTH ZIRN ARCHITEKTEN in collaboration with Rotterdam-based WDJARCHITECTEN and realized by Burgy Bouwbedrijf.

See: https://pers.nederlandsfotomuseum.nl/en/

Images top to bottom): Nederlands Fotomuseum – front view © Photo Studio Hans Wilschut; Cas Oorthuys, Vondelingenweg, 1957-1958. Nederlands Fotomuseum © Cas Oorthuys/Nederlands Fotomuseum; D.N.A., 2007 From Flamboya, 2008 © Viviane Sassen (1972); Suzette Bousema, Future Relics 40, 2025 © Suzette Bousema

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30995703854?profile=RESIZE_400xColmore BID is shining a spotlight on one of its most overlooked innovators, unveiling a brand-new exhibition Birmingham’s Photographic Pioneer’ honouring George Shaw (1818-1904). Produced by artist Jo Gane and organised and funded by Colmore Business District (BID), the free, open to all exhibition explores Shaw’s pioneering contributions to photography, science and civic life, and aims to restore his rightful place among the city’s celebrated figures. The exhibition builds on initial work by Pete James. 

While Birmingham proudly commemorates icons like Boulton and Watt, Benjamin Zephaniah, Ozzy Osbourne and even the fictional Tommy Shelby, George Shaw’s legacy has remained largely unrecognised – until now. Born in Dudley and the son of a glass maker, Shaw was a patent agent, chemist, artist and educator who made Birmingham’s first daguerreotype photograph in 1839. Shaw’s influence extended far beyond photography, lecturing widely on chemistry and scientific advancements. He played a key role in the city’s educational institutions, helping to establish Birmingham’s first free public library. His work caught the attention of scientist Michael Faraday, where Shaw collaborated with metallurgist John Percy on groundbreaking photographic experiments.

Designed and arranged by Birmingham designer Stacey Barnfield, the exhibition is located at the West Midlands Metro Town Hall stop, outside Queens College Chambers, a key building where Shaw lectured and undertook his practice. It will showcase reproductions of rare daguerreotypes uncovered by the late Pete James, former curator of photographs at Birmingham Central Library. These images, now the subject of a practice-based PhD study by artist Jo Gane, offer a unique glimpse into Shaw’s artistic and scientific legacy. 

In partnership with the Colmore BID team, Gane has developed this exhibition to reconnect Birmingham with its innovative industrial and artistic past. She said: “It has been a privilege to research Shaw’s photographs and uncover the activities of his network in Birmingham that tells a fascinating story of art, science and industry.”

30996270054?profile=RESIZE_400xExhibition highlights include reproductions of rare daguerreotypes and calotype photographs by George Shaw, archival materials and artworks from Shaw’s collaborations with John Percy and Frederick Henry Henshaw, insight into Shaw’s role in major exhibitions including the 1851 Great Exhibition and displays exploring early photographic processes and Birmingham’s role in their development.

Melanie Williams, Colmore BID Board Director and lead of Outstanding Places said: “George Shaws’ story is a powerful reminder of Birmingham’s legacy as a city of innovation and creativity. We’re proud to deliver this exhibition which not only celebrates a largely unrecognised pioneer, but also invites the city to better reflect and respect its rich industrial and artistic heritage.”

Birmingham’s Photographic Pioneer’ honouring George Shaw (1818-1904)
on view through November/December 2025

Outdoors, by West Midlands Metro Town Hall stop, outside Queens College Chambers, Birmingham
Produced by Jo Gane, with Birmingham BID
For more information, visit https://colmorebusinessdistrict.com/projects/george-shaw/.  

Installation shots courtesy Jo Gane.

 

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30996351273?profile=RESIZE_400xA collection of original Blake and Edgar glass plates and photographs, approx. 30 in number,  are to be sold through auction at Peacocks Auction House, Bedford https://www.peacockauction.co.uk on 5 December 2025.  Blake and Edgar were prominent photographers in Bedford from c1870 and the collection includes many Victorian photographs of Bedford as well as an additional collection dating from the 1950/70s.

Antique Furniture and Collectors Items
5 December 2025 from 1030
See the auction catalogue here

 

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Housed in the extraordinary spaces of Palazzo Grifoni Budini Gattai, which for years hosted the Photothek of the Kunsthistorisches Institut in Florenz, the exhibition offers a critical and engaging reading of Florence through photographs by Italian-German artist and filmmaker Armin Linke, in dialogue with historical documentary photographs from the Photothek. The exhibition explores archives, museums and collections where works of art, documents, materials and knowledge have sedimented, forming and transforming the image of the city of Florence. The exhibition will be accompanied by a concept book that should appear in January 2026.

Armin Linke: The City as Archive. Florence
Curated by Hannah Baader and Costanza Caraffa

An exhibition by the
Kunsthistorisches Institut in Florenz – Max-Planck-Institut

12 November 2025–31 January 2026

Holiday closure
22 December 2025–1 January 2026

Palazzo Grifoni Budini Gattai
Via dei Servi 51
50122 Florence

Opening hours
Thursday 14–20, Friday 14–19, Saturday 14–19

Free admission

Contact:
cityasarchive@khi.fi.it

More on the KHI website

 

 

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