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12933586284?profile=RESIZE_400xJohn Winstone writes... yesterday, eighty years ago, the RAF 'airmen photographers', otherwise known as Mobile Field Photographic Section (124 Wing), landed at a secured Gold Beach. On 11th September lorries in the four landing craft unloaded fourteen vehicles, ten of which were articulated mobile darkrooms, plus the MFPS personnel. The mobile darkrooms, previously based on various English airfields, proved their worth travelling in convoy first to Amiens, Belgium, Holland and eventually Germany. Personnel serviced the cameras and loaded new film in reconnaissance planes, flying from recaptured airfields. Film processing in the mobile darkrooms was continuous through rollers in seven deep tanks - pre-wetting, developing, washing, fixing, first post-wash, final wash and methanol dried. It was invaluable experience for freelancers setting out on their own careers after demob.

Here is RW's shot of an early morning discussion on the starboard prow of LCT942 with bows open on Sword Beach and a shot of an MFPS contact printer.  It is a type B F24 contact printer for 5" wide roll film, running in spools left & right of the pressure plate. Opal glasses within controlled exposure. This printer was a demob trophy, presently in Reece Winstone Archive.

The landing included Reece Winstone, John's father. 

Read the full piece RAF MFPS_SwordBeach_1944.pdf

The Reece Winstone Archive: https://www.reecewinstone.co.uk/

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Join the London Archives for an evening of specially devised entertainment by the renowned magic lantern performers Jeremy and Carolyn Brooker from the Magic Lantern Society. This is in conjunction with our 'Lost Victorian City' exhibition. The show will feature an authentic triunial (or Triple) magic lantern combining three projectors in a single device. This is the most complex and rarest form of magic lantern entertainment creating fast-moving shows featuring the most spectacular effects the lantern can produce. Carolyn and Jeremy Brooker have been performing together for over 20 years to perfect this demanding art (www.jeremybrooker.com).

With live musical accompaniment provided by acclaimed silent film pianist Costas Fotopoulos (http://www.costasfotopoulos.com/). Costas is based in London and works internationally as a composer and arranger for film, the stage and the concert hall, and performs as a concert, silent film and jazz pianist.

EXHIBITION: Visit the 'Lost Victorian City' exhibition, which will be available to view before the main event, and view an additional display of documents around the theme of gothic London specially curated for the evening.

Magic Lantern Show
24 october 2024 at 1830-2100 (BST)
The London Archives, 40 Northampton Road London EC1R 0HB

See: https://www.eventbrite.co.uk/e/magic-lantern-show-tickets-978275376987


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On 15 July 2024, Sky released the official trailer for upcoming Sky Original film Lee. The powerful trailer sees Kate Winslet in her role playing Lee Miller, one of the most important photographers of her time, as she embarks onto the front line of WWII to capture some of the most significant wartime images for British Vogue. The trailer also gives audiences a glimpse at Andy Samberg, Alexander Skarsgård, Marion Cotillard and Andrea Riseborough in their respective roles.

Lee tells the story of Lee Miller (Winslet), American photographer. Determined to document the truth of the Nazi regime, and in spite of the odds stacked against female correspondents, Lee captured some of the most important images of World War II, but they came at an enormous personal price.

Joining Winslet is Andy Samberg playing Life Magazine photographer David E. Scherman; Alexander Skarsgård playing English Surrealist painter, photographer, poet and biographer Roland Penrose; Marion Cotillard playing Solange D’Ayen, the fashion director of French Vogue and close friend of Miller’s: Josh O’Connor playing Tony, a young journalist and Andrea Riseborough playing British Vogue Editor Audrey Withers.

Directed by Ellen Kuras. Produced by Kate Solomon and Kate Winslet, with Troy Lum, Andrew Mason, Marie Savare and Lauren Hantz. Executive Producers are Julia Stuart and Laura Grange, Finola Dwyer, Thorsten Schumacher, Billy Mulligan, John Hantz, Jason Duan, Crystine Zhang, Lem Dobbs, Liz Hannah, John Collee and Clare Hardwick.

The film premiered in London recently and will be in cinemas from 13 September for a limited period before coming to Sky Cinema later in 2024. It stars Kate Winslet and is directed by Ellen Kuras. 

See more: https://www.sky.com/watch/lee#learn-more

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Digitisation: Manchester Digital Collections

The John Rylands Research Institute and Library has excellent holdings of early photographic albums and photographically illustrated books, including work by eminent and pioneering photographers such as William Henry Fox Talbot, Roger Fenton, Francis Frith and James Mudd, as well as a number of albums by unknown or anonymous individuals.

This collection contains seven important early photographic albums and will be added to as part of the Library’s ongoing digitisation programme. Highlights of this collection include the albums The Pencil of Nature (1844) by William Henry Fox Talbot, English architecture and landscapes (c1860) by Roger Fenton, Intérieurs Anglais (1880’s – 1890’s) by Henry Bedford Lemere and West Riding Asylum, Menston, Yorkshire (1901) by Dr Thomas O'Conor Donelan. They also demonstrate multiple analogue photographic processes such as albumen, salt, cyanotype and silver gelatine prints.

Read more and explore the albums here: https://www.digitalcollections.manchester.ac.uk/collections/earlyphotography/1

Image: from Recollections of Dunham. An album of photographs of Dunham Massey, Trafford, by James Mudd one of Manchester’s most important Victorian photographers. See: https://www.digitalcollections.manchester.ac.uk/view/VS-VPH-00010/15

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12933342459?profile=RESIZE_400xShining Lights is the first critical anthology to bring together the groundbreaking work of Black women photographers active in the UK during the 1980s and 1990s, providing a richly illustrated overview of a significant and overlooked chapter of photographic history. Seen through the lens of Britain’s sociopolitical and cultural contexts, the publication draws on both lived experience and historical investigation to explore the communities, experiments, collaborations and complexities that defined the decades.

12933343455?profile=RESIZE_400xThis symposium, hosted by Shining Lights’ editor and artist Joy Gregory, provides an opportunity to further examine and debate the issues raised in the book, through the voices of the publication’s contributors and leading intergenerational thinkers.

Join us to celebrate this timely and important publication and foreground the contribution of Black women photographers to the history of the artistic medium.

Confirmed participants: Christine Checinska, Poulomi Desai, Bernardine Evaristo, Lola Flash, Mumtaz Karimjee (virtually), Roshi Naidoo, Symrath Patti, Eileen Perrier, Lola Olufemi.

Full programme to be announced soon.

Produced in partnership with the V&A Parasol Foundation Women in Photography Project, Fast Forward: Women in Photography at University for the Creative Arts and the Paul Mellon Centre for Studies in British Art.

The publication is co-published by MACK & Autograph ABP. With thanks to Joy Gregory Studio.

Details: https://www.paul-mellon-centre.ac.uk/whats-on/forthcoming/shining-lights-photography-conference

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12885687898?profile=RESIZE_400xChrist Church is seeking an Charles Dodgson Collection Project Archivist. Reporting to the College Librarian, the post-holder will lead on the preparation, cataloguing and promotion of the Charles Dodgson (Lewis Carroll) collection held by the Library.  Charles Dodgson (1832-1898) – better known by his pen name Lewis Carroll – was a mathematics tutor and also Sub-Librarian at Christ Church. The collection includes photographs and some of Dodgson's photographic equipment. 

Cataloguing work includes the appraisal and selection, listing and arrangement and entry into the Epexio catalogue, assessing conservation and preservation needs, adding authority files, numbering and re-housing into preservation packaging as appropriate. The role-holder will also contribute to outreach activities including exhibition planning. Time-allowing, the role-holder will also identify and prioritise items for digitisation and liaise with Digitisation colleagues.

This role would be appropriate for a recent graduate of an archives and records management or similar programme, and applications from new professional in the field are also welcomed. 

Details of the collection are here: https://www.chch.ox.ac.uk/college/library-archives/lewis-carroll-collection

Full details of the role are here: https://www.chch.ox.ac.uk/vacancies/charles-dodgson-collection-project-archivist-two-year-fixed-term

Image details: https://digital.bodleian.ox.ac.uk/objects/10ed277d-d972-4517-905c-126bf5edeaa9/surfaces/e01385e6-96e7-4647-bbfd-124cd37a2b11/

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12884082070?profile=RESIZE_400xDarkroom London is hosting Brett Rogers OBE on ( October 2024. Brett, the former director of The Photographers' Gallery, will be talking about her illustrious career and provide insights into gallery curation and organising exhibitions. 

Brett Rogers talk with Darkroom
Wednesday, 9 October 2024 at 1900
£5
Darkroom London, Unit 10 Murmarsh Workshops, 71 Marsden Street, London, NW5 3JA
Bookings: https://app.acuityscheduling.com/schedule/3369f406/?appointmentTypeIds[]=67686348

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12645870493?profile=RESIZE_400xThe V&A is celebrating the display New Photobooks from Australia, curated by PHOTO Australia for the V&A’s Photography Centre. This symposium will feature a selection of women and non-binary artists who will speak about their practice and the experience of marking art in Australia today.
 
With opening remarks by Duncan Forbes, V&A Head of Photography and Founder/Artistic Director of PHOTO Australia Elias Redstone, this symposium will feature two panel discussions with Australian artists Atong Atem, Lisa Sorgini, Liss Fenwick, Naomi Hobson, Ying Ang and Zoë Croggon.
 
The first session, Hometown photography: Autobiography in the contemporary photobook, moderated by V&A Curator Marta Weiss, will address how artists weave autobiography into their practice.
 
Constructed realities: characterisation and collage in the contemporary photobook, moderated by V&A Curator Catherine Troiano, will bring together artists whose experiences in other artforms help to shape the ways in which they construct new realities through photography.
 
Contemporary Photobooks from Australia
Tuesday, 10 September 2024, from 1700-2100

The Lydia and Manfred Gorvy Lecture Theatre
V&A South Kensington

Free
Booking: https://www.vam.ac.uk/event/A3v63mzJN0/contemporary-photobooks-from-australia-onsite-sep-2024



This event is supported by the Australian Government through the Australian Cultural Diplomacy Grants Program. Additional support provided by the Bowness Family Foundation, Jo Horgan and Peter Wetenhall and the Australian High Commission, United Kingdom.
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12871197460?profile=RESIZE_400xExeter's Bill Douglas Centre is advertising two new jobs at the museum. These are a Curatorial Assistant and a Museum Assistant. They are being funded from the recent award by Research England's Higher Education Museums, Galleries, and Collections Fund and will help extend services to external researchers, as well as assist with general duties in the museum.

You can find the advert and application for the Curatorial Assistant at Grade D here and the Museum Assistant at Grade C here .

The deadline for applications is 9 September 2024.

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12863700667?profile=RESIZE_400xEdward Wade (1829-1869, but dates uncertain) of Preston was listed by Gillian Jones in “Lancashire Professional Photographers 1840-1940” (pub. 2004). In 1860, Wade announced that he had moved to “more commodious premises” at number 36 Fishergate, and he offered to rent number 117 Fishergate (his old/first studio?). Wade remained at number 36 Fishergate until May, 1869, when he posted a notice in The Preston Chronicle to announced his retirement, and the sale of his negatives, cameras and equipment.

No mention is made of Wade as a daguerreotypist in the Heathcoates’ A Faithful Likeness.

We can safely assume that he had been busy making carte-de-visites for almost a decade, but how did he become a photographer, and, most importantly, when did he take this daguerreotype?

With the generous help of BPH member, Rob Whalley, who has provided much valuable information, I have been trying to establish the facts relating to a daguerreotype which I found very recently. The leather case imprinted with the logo of E. Wade, appears to be a product of the mid- to late 1840s, but Edward Wade would only have been about 18 years old at that time…

In trying to unveil this enigma, I would appeal for help to anyone who knows of the existence of other daguerreotypes marked E. Wade, 117, Fishergate, Preston.

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Roger Mayne was truly a magnificent, poetic artist. His subjects, though never appearing “posed,” confront the spectator in vivid and completely natural un/reality.4 Spirits who still inhabit London’s deliquescent urban spaces.
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In passing: Barry Lategan (1935-2024)

12827727898?profile=RESIZE_400xBarry Lategan who has died after a long illness aged 89 years was one of Britain’s leading fashion, portrait and advertising photographers from the 1960s to the 2000s. He was best known for his portrait of Twiggy, for his Vogue covers, and his advertising work. Many of his photographs are immediately recognisable. He was awarded an RPS Honorary Fellowship in 2007.

Lategan was born in South Africa and came to Britain in 1955 to study at the Bristol Old Vic theatre school. National service with the RAF intervened and it was during a tour in Germany that he joined the camp photographic society and photography took over his life. Lategan retuned to South Africa in 1959 and assisted Ginger Odes.

He returned to London in 1961, working in some of the leading studios, and photographing fashion. In 1966 he was introduced to Twiggy, then 16 years old, and created what became the face of the 60s. This helped propel Lategan’s career and he had his first Vogue cover in 1968 of a fur-clad Lesley Jones. He worked regularly for Vogue until 1981. He set up his own studio in 1967 in Chelsea. His photography was included in Bailey and Litchfield’s Ritz magazine, and he was the subject of a BBC2 Arena programme broadcast in 1975.

In 1977 he moved to New York to focus on commercial and advertising work, including directing television commercials, and personal projects. 

On his return to London in 1989 he continued with his advertising work and TV commercials for companies such as Jaeger, Pirelli, Vodafone and Gordons, winning numerous awards in both mediums. During his career he photographed many well-known models, celebrities from fashion, film and music, and royalty.

In 2006 Lategan suffered a serious fall which caused a serious brain injury and affected his behaviour. He was diagnosed in 2016 with frontotemporal dementia (FTD) which he and his family discussed publicly to raise awareness of the condition.

Lategan was involved with AFAEP, now the Association of Photographers, and helped select the inaugural AFAEP Awards in 1984. He held his first exhibition at the Photographers’ Gallery, London, in 1975, and was widely exhibited during his career (including by the RPS). Along with many of his contemporaries he enjoyed a long association with Olympus Cameras.

His work is held in the collections of the National Portrait Gallery and V&A Museum, London, and elsewhere.

The Barry Lategan Archive is now being managed by his son, Dylan.

https://www.barrylategan.com/

Text: © Michael Pritchard
Image: Barry Lategan, c1950s. © Estate of Barry Lategan / Barry Lategan Archive

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Unearthing a Photograph, help wanted

Featured in the Pre-Raphaelite Society Review, Summer 2024 issue is my research into a photograph of Jane Morris by Herbert Watkins I rediscovered in the St Bride Library. It was mistaken for another, well known version. Together with another renctly digitised version these three different versions are now published together for the first time. They are from the collections of the Victoria and Albert Museum, the William Morris Gallery and the National Portrait Gallery.The museums involved mention different dates (1858- 1860) and I have joined this community hoping to learn more about the details of this photography session (and any other photograph made of Jane Burden Morris).


Read the full article12809046698?profile=RESIZE_584x

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Perhaps a long shot, but I’m trying to identify a North Yorkshire photographer who just put his initials on his postcards.

I recently purchased a couple of cards, with similar initials, one was of the Farndale Show, postally used from Kirkbymoorside in August 1910,. The other, seen here, I have now identified as having been taken outside St. Mary's Church, Church Houses, Farndale East; it looks like they are waiting for Godot!

I’ve also seen examples with the same initials on the Helmsby Archive, in their “Around and about” photo album, one of Farndale Band (HA09448) and one of Lastingham Church (HA09358). However, they don’t know the parochial photographers identity.  

Any assistance in identifying the photographer would be gratefully received.12800926657?profile=RESIZE_710x

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12201205273?profile=RESIZE_400xThe Photographic Collections Network has issued the following notice... We regret to announce that after many years of sharing best practice and celebrating photo collections and photo archives across the UK, the Photographic Collections Network will close on 19 August 2024. 

Photographic Collections Network (PCN) has worked significantly in the sector with many amazing people and photographic collections, supported by the PCN Steering Group and our network. We’ve advised on collections placement, copyright, orphaned works, collections care, digitisation, preservation and so much more. We are proud of our extensive events programme of talks, workshops, advice sessions and collection visits that engaged people across the sector. 

Please continue to refer to our website for resources such as other organisations who provide help and support to the sector: https://www.photocollections.org.uk/advice 

From the PCN Manager Debbie Cooper and the wider PCN Steering Group, we would like to thank everyone who has supported us over the years.

Current PCN Steering Group

  • Martin Barnes, Senior Curator of Photographs, Victoria and Albert Museum 
  • Geoff Belknap, Keeper of Science and Technology, National Museums Scotland
  • Brigitte Lardinois, Reader in the Understanding of Public Photography, London College of Communication, University of the Arts in London
  • Leanne Manfredi, National Programmes Lead, Victoria and Albert Museum
  • Michael Pritchard, Photo Historian, formerly Royal Photographic Society
  • Tamsin Silvey, Cultural Programme Curator, Historic England 

------------------------

The Network was launched in 2016. See: https://britishphotohistory.ning.com/profiles/blogs/the-photographic-collections-network

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My Pressphotoman blog has recently published a series of posts about celebrated photographers, who learned and/or refined their craft with W. & D. Downey of South Shields, Newcastle on Tyne and London.

The featured photographers are Hayman Seleg Mendelssohn (1847-1908); John Edwards (1813-1898), Downey's principal photographer in the 1860s/70s; James Herriott (1846-1931); and Richard Emerson Ruddock (1863-1931).

Hayman Seleg Mendelssohn (1847-1908)

John Edwards (1813-1898)

James Herriott (1846-1931)

Richard Emerson Ruddock (1863-1931)

If any British Photographic History subscribers have additional information or images that they wish to add to this resource, please use the 'comments box' at the foot of each post.

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12793913874?profile=RESIZE_400xTwo pioneering photographers will be commemorated with blue plaques by English Heritage today, Thursday, 8 August 2024. The first will mark the Fulham home of Christina Broom, believed to have been Britain’s first female press photographer, while in Brixton, the second plaque will honour John Thomson, a ground-breaking photojournalist working at the advent of the medium.

English Heritage Historian, Rebecca Preston, said: “These two very different photographers were both pioneers in their own right, both working at the forefront of photography at a time when it was not the accessible medium that it is now. I am delighted to celebrate them today, each at an address associated with the very pinnacles of their respective careers.

12766432858?profile=RESIZE_400xDespite only making her first experiments in photography at the age of 40, with a borrowed quarter-plate box camera, Christina Broom went on to become the most prolific female publisher of picture postcards in Britain. She was a prominent photographer of the suffrage movement; the only woman photographer allowed into London barracks; and the only photographer permitted regularly into the Royal Mews. Her plaque at 92 Munster Road – a terraced house of 1896 – will be the very first blue plaque in Fulham, where she lived and worked for 26 years. From this house, without a public-facing studio or shop, Mrs Broom and her daughter Winifred ran her photographic business. At their busiest, mother and daughter produced 1,000 postcards per day. When she was interviewed in her drawing room in 1937, the reporter from Westminster and Chelsea News was ‘confronted with hundreds of prints from a selection of some of the thousands of negatives – many of them irreplaceable – that are stored elsewhere in the house’. Broom died at number 92 in 1939 and her daughter remained there until she died in 1973.

12767294499?profile=RESIZE_400xJohn Thomson was a leading photographer, geographer, travel writer and explorer. His seminal work, Illustrations of China and its People (1873–4), charted his travels through more than 4,000 miles from Hong Kong to the Yangtze-Kiang, via Canton and the Great Wall, creating a far broader panorama of Eastern culture than had ever been seen in the West. With the permission of King Mongkut of Siam, he took the first-known photographs of the ruins of Angkor Wat in 1866 and the reproduction of his photographs, particularly the innovative combination of text and image, was a landmark in the history of illustrated books. Thomson and his family moved to what is now 15 Effra Road in Brixton in the 1870s. It was while living in this terraced house of 1875­–6 – formerly known as 12 Elgin Gardens – that Thomson published one of his best-known and influential works, Street Life in London (1877–8). With its cast of street characters, such as Covent Garden flower sellers, Italian musicians and ‘Hookey Alf of Whitechapel’, Street Life has been reprinted many times since. Thomson was convinced that photography was ‘absolutely trustworthy’ in its ability to convey accuracy and truth. ‘We are now making history’, he wrote in 1891, ‘and the sun picture supplies the means of passing down a record of what we are, and what we have achieved in this nineteenth century of our progress’.

Other photographers commemorated by the Blue Plaques Scheme include Bill Brandt, Lee Miller, Camille Silvy and Cecil Beaton.

The English Heritage London Blue Plaques scheme is generously supported by David Pearl and members of the public.  The London-wide blue plaques scheme has been running for 150 years. The idea of erecting ‘memorial tablets’ was first proposed by William Ewart MP in the House of Commons in 1863. It had an immediate impact on the public imagination, and in 1866 the (Royal) Society of Arts founded an official plaques scheme. The Society erected its first plaque – to poet, Lord Byron – in 1867. The blue plaques scheme was subsequently administered by the London County Council (1901–65) and by the Greater London Council (1965–86), before being taken on by English Heritage in 1986. www.english-heritage.org.uk/discover/blue-plaques/

See: https://www.bbc.co.uk/news/articles/cz9wpy787y1o

Main image: (l-r) Jamie Carstairs, David, Caroline and Jessica Thomas (Thomson descendents) and Betty Yao below the blue plaque for John Thomson.  © Michael Pritchard

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