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This autumn, Tate Britain will present The 80s: Photographing Britain, a landmark survey which will consider the decade as a pivotal moment for the medium of photography. Bringing together nearly 350 images and archive materials from the period, the exhibition will explore how photographers used the camera to respond to the seismic social, political, and economic shifts around them. Through their lenses, the show will consider how the medium became a tool for social representation, cultural celebration and artistic expression throughout this significant and highly creative period for photography.

This exhibition will be the largest to survey photography’s development in the UK in the 1980s to date. Featuring over 70 lens-based artists and collectives, it will spotlight a generation who engaged with new ideas of photographic practice, from well-known names to those whose work is increasingly being recognised, including Maud Sulter, Mumtaz Karimjee and Mitra Tabrizian. It will feature images taken across the UK, from John Davies’ post-industrial Welsh landscape to Tish Murtha’s portraits of youth unemployment in Newcastle. Important developments will be explored, from technical advancements in colour photography to the impact of cultural theory by scholars like Stuart Hall and Victor Burgin, and influential publications like Ten.8 and Camerawork in which new debates about photography emerged.

The 80s will introduce Thatcher’s Britain through documentary photography illustrating some of the tumultuous political events of the decade. History will be brought to life with powerful images of the miners’ strikes by John Harris and Brenda Prince; anti-racism demonstrations by Syd Shelton and Paul Trevor; images of Greenham Common by Format Photographers and projects responding to the conflict in Northern Ireland by Willie Doherty and Paul Seawright. Photography recording a changing Britain and its widening disparities will also be presented through Anna Fox’s images of corporate excess, Paul Graham’s observations of social security offices, and Martin Parr’s absurdist depictions of Middle England, displayed alongside Markéta Luskačová and Don McCullin’s portraits of London’s disappearing East End and Chris Killip’s transient ‘sea-coalers’ in Northumberland.

A series of thematic displays will explore how photography became a compelling tool for representation. For Roy Mehta and Vanley Burke, who portray their multicultural communities, photography offers a voice to the people around them, whilst John Reardon, Derek Bishton and Brian Homer’s Handsworth Self Portrait Project 1979, gives a community a joyous space to express themselves. Many Black and South Asian photographers use portraiture to overcome marginalisation against a backdrop of discrimination. The exhibition will spotlight lens-based artists including Roshini Kempadoo, Sutapa Biswas and Al-An deSouza who experiment with images to think about diasporic identities, and the likes of Joy Gregory and Maxine Walker who employ self-portraiture to celebrate ideas of Black beauty and femininity.

Against the backdrop of Section 28 and the AIDS epidemic, photographers also employ the camera to assert the presence and visibility of the LGBTQ+ community. Tessa Boffin subversively reimagines literary characters as lesbians, whilst Sunil Gupta’s ‘Pretended’ Family Relationships 1988, juxtaposes portraits of queer couples with the legislative wording of Section 28. For some, their work reclaims sex-positivity during a period of fear. The exhibition will spotlight photographers Ajamu X, Lyle Ashton Harris and Rotimi Fani-Kayode who each centre Black queer experiences and contest stereotypes through powerful nude studies and intimate portraits. It will also reveal how photographers from outside the queer community including Grace Lau were invited to portray them. Known for documenting fetishist sub-cultures, Lau’s series Him and Her at Home 1986 and Series Interiors 1986, tenderly records this underground community defiantly continuing to exist.

The exhibition will close with a series of works that celebrate countercultural movements throughout the 80s, such as Ingrid Pollard and Franklyn Rodgers’s energetic documentation of underground performances and club culture. The show will spotlight the emergence of i-D magazine and its impact on a new generation of photographers like Wolfgang Tillmans and Jason Evans, who with stylist Simon Foxton pioneer a cutting-edge style of fashion photography inspired by this alternative and exciting wave of youth culture, reflective of a new vision of Britain at the dawn of the 1990s

The 80s: Photographing Britain
21 November 2024 – 5 May 2025
Tate Britain, Millbank, London SW1P 4RG
Open daily 10.00–18.00
Tickets available at tate.org.uk and +44(0)20 7887 8888

In celebration of International Women’s Day, 8 March, 2025, we invite scholars, practitioners, and enthusiasts to submit abstracts for participation in a free, online, global, 24-hour symposium dedicated to celebrating the contributions of women to the medium of photography from photography's announcement in 1839 to contemporary artists in 2024. This unique event aims to highlight the diverse and impactful work of women photographers, and those working with photography, across all cultures and time zones.

We seek 15-minute papers that explore a broad range of topics related to women’s contributions to photography. These may include but are not limited to:

• Historical and contemporary profiles of influential and underappreciated women photographers.
• The impact of gender on photographic practice and representation.
• The role of women in shaping the photographic medium or its exhibition.
• Cross-cultural perspectives on women’s contributions to photography.
• Challenges and achievements of women photographers in various global contexts.

Our goal is to foster a rich, international dialogue that underscores the significant yet often overlooked achievements of women in the field. Presentations will be scheduled to accommodate various time zones, ensuring a truly global exchange of ideas.

To participate:
Please submit a 300-word abstract outlining your proposed paper by 1 October 2024. Abstracts should be submitted to celebratingwomeninphotography@gmail.com. Please also include your name, affiliation, time zone of anticipated residence on International Women’s Day, and a brief (100-word) biography. Selected papers will be notified by 1 November 2024, and detailed guidelines for presentations will be provided.

We encourage contributions from diverse perspectives and regions to create a comprehensive and inclusive representation of women in photography.

Join us in celebrating the vibrant and transformative work of women photographers worldwide!

Women of Photography: A 24-Hour Conference-a-thon Celebrating International Women’s Day 2025
Convenors: Kris Belden-Adams, PhD, Associate Professor of Art History, University of Mississippi and Dr Rose Teanby, Independent Scholar, UK
Call for papers - close 1 October 2024
Notification of acceptance - 1 November 2024
Conference-a-thon - 8 March 2025
Website coming shortly

Sefton Samuels who has died aged 93 years was a documentary photographer and photojournalist who documented the city of Manchester from the 1960s. Samuels' work is held in the National Portrait Gallery and V&A Museum collections. Some of his Manchester work was gathered in his book Northerners (2011)

See: https://en.wikipedia.org/wiki/Sefton_Samuels and https://www.seftonphoto.co.uk/

Obituary here: https://www.theguardian.com/artanddesign/2024/aug/08/sefton-samuels-obituary

A launch event of the AHRC Research Network, The Ethics of Medical Photography: Past, Present and Future, has just been announced. The first in a series of online seminars brings together Beatriz Pichel (De Montfort University, project PI), Katherine Rawling (University of Leeds, project Co-I), Toni Hardy (Wellcome Collection) and Andreas Pantazatos (University of Cambridge) to introduce the network and its aims, as well as discuss some of the main ethical dilemmas that historians, heritage specialists and collections managers are facing in relation to medical photography.

About the Network:

This multidisciplinary network brings together historians, ethicists, archivists, heritage scholars, artists, photographers, social scientists, and the public to generate theoretical and practical resources to research, curate, and disseminate historical medical photographs in an ethical way. To balance the ethical needs of heritage institutions, researchers and the public, this network will move beyond the looking/ not looking dilemma [Moeller, 2009] to ask:

• how does our understanding of the ethics of medical photography, and of medical photography itself, change when we focus on race, disability, gender, class and age rather than consent, privacy and anonymity?
• how can we widen access to early medical photographs while respecting the dignity of both historical subjects and present viewers?

For any questions about the seminar please contact empnetwork24@gmail.com

You can join the Network mailing list here

The Developing Room, a photography working group at Rutgers University’s Center for Cultural Analysis, in collaboration with the Essen Center for Photography (Essen Germany) announces the DR’s ninth graduate colloquium. The future once buzzed with the excitement of potential, or at least the idea of destiny once did. Today, however, the prospects of what is to come rattle with doom in a way that modernist Henri Bergson may not have anticipated given his words of charm and hope. Climate change, brutal wars and reactionary politics gather pace in what strikes many today as a doom spiral into the future. Photography has not been spared these imaginings as digital imaging technologies from thirty-five years ago and now artificial intelligence seemingly foretell the medium’s death. Or is this too pessimistic a forecast?

At the Photography show in Birmingham earlier this year a roll of film was left in the donations box of the Disabled Photographers' Society. When developed and scanned it was found to be shot at the 1948 Olympic games in London. They are seeking clues as to the photographer and as many of the subjects as they can. They look as if they were taken from the trackside, so access was granted to areas probably not available to the general public.

https://www.facebook.com/thephotographyshowbirmingham/posts/pfbid04KHG6fTz5EcQpGcPy7V849HRM1mGLnc1VBRqPG22uGwCHFZGk9vt7kJYJQjoJG4el

English Heritage, with the support of the John Thomson steering group and the Royal Photographic Society's Historical Group will be unveiling an English Heritage Blue plaque to John Thomson (1837-1921). The ceremony will take place at 12 noon at 15 Effra Road, Brixton, where he worked on Street Life in London. It will be followed by several short presentations and light refreshments, just a few hundred metres away in the new premises of Photofusion at Unit 2, 2 Beehive Pl, London SW9 7QR. Photofusion has supported photographers since 1990.

Places are limited and prior registration is required here.

As a Bristol PhD student Rosemary Fowler (then Rosemary Brown) made a significant contribution to the use of photographic materials in particle physics. She married a fellow PhD student Peter Fowler (grandson of Ernest Rutherford) and left Physics to raise a family.

Her 3 papers in Nature and Phil Mag are well recognised for their contribution. As a 22-year-old doctoral researcher discovered the kaon (or K meson particle). While studying photographic plates that had been left exposed to cosmic rays, she identified a new configuration of tracks within the photographic emulsion that she recognised as being the decay of an unknown charged particle. Her discovery contributed to the introduction into particle physics of the property of strangeness, and to physicists' understanding that parity is not conserved in weak interations – features that now form an integral part of the standard model of particle physics (see: https://en.wikipedia.org/wiki/Rosemary_Fowler)

In July 2024, 75 years on at age 98 she has just received an Honorary DSc for her work. 

See: https://www.theguardian.com/science/article/2024/jul/22/physicist-rosemary-fowler-honoured-doctorate-75-years-after-discovery

This year marks 110 years since Britain declared war on Germany and the start of the First World War. To mark the anniversary, Blenheim Palace has revealed it has a special album of letters, photographs and entries from when the UNESCO World Heritage Site was used as a hospital, between autumn 1914 and May 1915.

The 9th Duke of Marlborough opened up his home for use as a convalescence hospital in the early months of World War One; it was run by Sister Amy Munn. In the hospital album, she noted: ‘Blenheim Palace was closed as a hospital on May 31st, 1915 and the numerous letters received from the trenches since then are eloquent of the affection of the men for their ‘Home’ and to the Duke of Marlborough for his unfailing kindness and sympathy to them.’

The album lists the name, rank and age of each patient as well as his regiment and ailment or complaint. There is also a column in which the patient could make his remarks upon discharge - the date of which is also noted. The complaints of the teenagers and young men vary greatly, from gunshot wounds, gas poisoning and shrapnel to haemorrhoids, influenza, rheumatism and even frostbite.

Photographs and letters of thanks are also included in the album, and it becomes apparent that Sister Munn wrote a postcard to each of the men who had been under her care to find out how they had fared once they left Blenheim. The responses are many and varied - some write from the trenches, others who were sent to recover elsewhere compare their present treatment to the care they had received at Blenheim.

Some of the letters are from distressed and grieving relatives who, having seen photographs of the patients in a newspaper article of the time, write in the hope that the familiar looking man in the image will turn out to be a son, husband or father who has been reported as missing in action. There are also letters notifying Sister Munn of the death of someone who had previously been in her care.

It also becomes apparent that the Duke presented Sister Munn with a diamond brooch in recognition of all her care and hard work.

Antonia Keaney, Social Historian at Blenheim Palace, said, “The album is an absolute goldmine and is an amazing snapshot of the early days of the First World War when the men and their families couldn’t have begun to imagine the horrors that lay ahead or how long it would drag on for. The letters all contain expressions of gratitude to the Duke and Sister Munn, so it is incredible to be able to share this fascinating piece of history which is very important to us here at Blenheim Palace.”

The album is going to be displayed at Blenheim Palace in the Long Library for the weekend of the 3rd-4th August.

For more information and to book tickets visit, https://www.blenheimpalace.com/whats-on/events/hospital-albums-ww1/ and www.blenheimpalace.com

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Kenneth Grange who has died just a few days after his 95th birthday was one of Britain's most significant postwar industrial designers. For thirty years he was design consultant for Kodak Limited developing cameras and a range of other products during the 1950s-1980s. These included the Kodak Instamatic 33, the Brownie Vecta, and Kodak Brownie 44A and 44B, Pocket Instamatic cameras, and the Kodascope 40 projector. The Brownie 44A, Kodaslide 40 and Vecta won Design Centre Awards in 1960, 1961 and 1964 respectively. 

He told The Guardian in 2011 about his work for Kodak. "I couldn't yet make a living from product design, so I was working doing the displays for the Kodak pavilion at the World Trade Fair. I was arranging the products on the stand and someone overheard me say, 'It's a shame these are so ugly; I could make this really good if they weren't.' The next day, the phone rang. It was the head of development at Kodak, and he said, 'I understand you're going to design a camera for us.' It was thrilling, but I was scared, too, because I didn't know cameras. But again, there was an element of luck involved. I just happened to be in the right place at the moment when Kodak decided to start selling cameras for profit. Up until this point, their cameras were sold at a loss in order to shift film."

Grange's Instamatic design was credited by the British Journal of Photography (12 December 1969) with its phenomenal sales: 'The success of the camera at home and abroad is thought to be largely due to the elegant appearance of the Instamatic 33 range, which was designed by the developments department of Kodak in association with Kodak AG; Kenneth Grange FSIA was the styling consultant'. Over one million were exported in the year to 31 October 1969. 

Away from photography Grange was responsible for a range of product designs including the Kenwood Chef food processor, the Manganese Bronze London taxi and the HST 125 train.

An exhibition about Grange and his work - Kenneth Grange - Designing Modern Britain - was held at the Design Museum in 2011 and reported on in BPH.  

His archive is now housed at the V&A Museum, London, gifted by Grange in 2022.  In an interview at the time of its acquisition Grange noted 'Another favourite commission and one of my most successful designs was the Kodak Instamatic camera 55x. The basic invention was brilliant and was a breakthrough which made loading film into a personal camera much simpler and more straightforward. My role was to decide what visual characteristic this new camera would have, and I felt it should owe something to the long history of photography. The most expensive camera at the time was the Leica Camera – it had a particular shape to it that had become the definitive shape and way of using a camera. This new camera I was designing for Kodak owed its lineage to the Leica and is how the shape came about.'

See more here: https://en.wikipedia.org/wiki/Kenneth_Grange and https://collections.vam.ac.uk/item/O1194586/kodaslide-40-slide-projector-slide-projector-grange-kenneth/ and https://www.theguardian.com/artanddesign/2011/jul/17/kenneth-grange-british-design-exhibition

Main image: Michael Pritchard / Kodak Instamatic 33. Left: Brownie Vecta camera

Ben Harman, formerly Director of Edinburgh's Stills Gallery has been appointed to the role of Senior Curator (Photography) at National Galleries Scotland, based in the Scottish National Portrait Gallery, Edinburgh. The role was was advertised in March. He takes over from Anne Lyden who took up the role of National Galleries Scotland's Director-General on 1 January 2024. She had been Senior Curator since 2013. 

Harman who started in his new role last Monday joined Stills Gallery as Director and CEO in January 2014.  

Stills Gallery is curently advertising for a Director and that remains open for applications until 16 August. 

Image: Ben Harman / LinkedIn

Join Philippe Garner, former Christie's and Sotheby's auctioneer, and photography expert, and Alessandro Nasini, Senior Curator of Photographs and exhibition curator of Royal Portraits: A Century of Photography, as they discuss how photography became accepted as fine art.

The discussion will be followed by an opportunity for guests to view the exhibition and your ticket will also include a glass of wine or soft drink to enjoy while you explore the gallery.

Your ticket will also include a 1-Year Pass, allowing you to visit our current and future exhibitions at The King's Gallery, Buckingham Palace as many times as you like within the next year. See here for more information about the 1-Year Pass 

In conversation: Photography at Art with Philippe Garner and Alessandro Nasini
Thursday, 8 August 2024 at 1830-2000, followed by a private exhibition view until 2100
King's Gallery, London
£35
See: https://www.rct.uk/event/in-conversation-photography-as-art-08-2024

Image: Princess Alexandra by Cecil Beaton

The Bradford Telegraph and Argus newspaper has reported that the National Science and Media Museum will be re-opening to the public in January, in time for Bradford's 2025 year of culture. The museum closed in June 2023 and re-opening had been delayed until summer 2025 after some unforeseen major structural issues were uncovered. The museum will open with two major new £6 million galleries dealing with sound and vision, new lifts and a remodelled front entrance.

The galleries, accompanied by a programme of activities, will showcase key objects and stories from the museum's world-class collections of photography, film, television, animation, videogames and sound technologies.

Separately, museum director Jo Quintoch-Tulloch has been awarded an honorary degree by the University of Bradford. Jo started at the museum in 2013, and her focus has been to forge partnerships across the city, including the University of Bradford, making it a centre of excellence in science, technology, engineering, and mathematics (STEM) learning. The awarde was given ‘In recognition of demonstrating significant impact on the City and beyond, and contribution to STEM in partnership with the University.’

See: https://www.thetelegraphandargus.co.uk/news/24458906.national-science-media-museum-reopen-january-2025/ and https://www.scienceandmediamuseum.org.uk/about-us/sound-and-vision-project

Image: Jo Quinton-Tulloch / KM Images Ltd. 

The forthcoming Bristol Photo Festival features a number of exhibitions that use archival material in its own right or to inform contemporary practice. Of particular note is the exhibition: Herbert Shergold: Now Keep Quite Still. Throughout the 1950s and 1960s, Herbert Shergold operated a commercial photography studio in Bristol to create highly stylised portraits of actors as well as of his local community. In Shergold’s studio, Bristol’s working class residents were styled to appear as Hollywood film stars.

Little is known of Shergold, although he lectured to Bristol Camera Club in 1952 with a preentation titled 'Accent on Glamour'. After his death, his photographs largely disappeared from view, falling into the possession of private collectors in the US, The Netherlands, as well as Bristol. From the latter collection, curator and photo historian Hedy van Erp has curated the first exhibition of Shergold’s work. This exhibition takes place close to the site of his original studio and is supported by Marcel Brent (Vintage Photographs) and the Embassy of the Kingdom of the Netherlands.

Herbert Shergold: Now Keep Quite Still
The Laundrette Gallery, 145 Cheltenham Rd, Cotham, Bristol BS6 5RR
16 October-17 November 2024

Details of the Bristol Photo Festival are here: https://bristolphotofestival.org/

Image: Herbert Shergold’s collection. © VintagePhotographs

Over six weeks, this practical course explores what it means to archive collections today – working with physical and/or digital material. Course leader Kathryn Tollervey starts by exploring the need for an archive and who it is for. Then we look at guidelines on cataloguing and metadata, as well as the processes of digitisation and preservation for both digital and physical material. We discuss what digital solutions are best for different types of collections. Throughout the course we focus on access and legacy of the archive.

Taking place weekly on Zoom, sessions include a blend of lectures, group discussions and presentations. Participants are provided with lecture slides and a list of resources for further study. The course is open  to all, especially photographers who are interested in starting the process of archiving their material, whether of personal value or historical public interest.

Starting an Archive
Online: 06:30pm, Mon 16 Sep 2024 - 08:00pm, Mon 21 Oct 2024
£185/£165 members and concessions
Details: https://thephotographersgallery.org.uk/whats-on/course-starting-archive-online

Photography Database is a new implementation and major extension of work done by editors Andrew Eskind and Greg Drake while at George Eastman House in Rochester, NY, beginning in the 1980s.  It provides basic factual information about more than 100,000 photographers, as well as public photographic collections, commercial galleries, photographic exhibitions, and citations to the many published sources used to compile the data. The scope is international, and the time frame runs from the beginnings of photography to contemporary. Data is continually updated -- actively tracking photographer obituaries, new and expanding collections, exhibitions, galleries, reviews, catalogs, and reference literature. At the time of writing it shows 11,500 exhibitions from 1840, 108,450 photographer obituaries. 

The database is both a useful reference too and provides an opportunity to analyse disparate data which it brings together to provide new insights in to how the work of photographers has been exhibited. It has been added to the resources at the bottom of the home page. 

Photography Database
Basic Biographical Information about Photographers, Public Photography Collections and Their Photographic Exhibitions
Access here: https://photographydatabase.org/

Take to the skies and discover the world from above the clouds through the remarkable work of Alfred Buckham: Daredevil Photographer.  A trailblazer in his field, Alfred Buckham FRPS (1879-1956) soared above the realms of what was thought to be possible in 20th century photography and aviation. Meet the man behind some of the most iconic aerial photographs, marvel at the death-defying lengths he took to capture the perfect image and explore how his innovative techniques paved the way for modern technologies such as Photoshop and AI.

Alfred Buckham: Daredevil Photographer
18 October 2025–19 April 2026
Scottish National Portrait Gallery
Free admission
See more here

The British Library is seeking to recruit a permanent part-time Print Room Coordinator and Cataloguer to join the Visual Arts Team at St Pancras. This post is a three-day a week job-share and will be fully onsite.

Working with one of the most extensive collections of prints, drawings and photographs relating to South Asia, this is an exciting opportunity to support our users and these important materials available for research, creativity and enjoyment. The post holder will work independently to oversee the daily operations of the Print Room including scheduling appointments, retrieve, and issue and replace collection items, while closely invigilating readers on weekday mornings. The post holder will devote the remainder of their time to catalogue and research uncatalogued Visual Art collections relating to architecture and topographical views of South Asia.

Details: https://ce0752li.webitrent.com/ce0752li_webrecruitment/wrd/run/etrec179gf.open?WVID=5071482BMD&LANG=USA

Norway's Preus Museum has reported that it purchased the Richard Neuhauss self-portrait from auction in June. It sold for €7.560. The plate joins twelve other colour plates by Neuhauss, making a total of 20 Lippmann interference plates held by the museum. Neuhauss experimented with the so-called Lippmann process from 1895, and over time he produced over 2,500 Lippmann photographs, mainly of inanimate objects. It is the fact that this is a self-portrait that make it special. 

Dr Hanin Hannouch notes 'with photograph conservator Jens Gold, a couple of years ago I co-curated an exhibition at Preus Museum about Lippmann photography, mostly using the museum's own magnificent collection of interferential plates by Neuhauss and Hans Lehmann. On this basis, I can safely say that I am relieved Preus Museum acquired the plates at the auction because, in my experience, this institution genuinely stands for accessibility of collections, openness to research, and enthusiasm for all things photography. So congratulations to Preus Museum!!!'

Details of the auction are here: https://www.lempertz.com/en/catalogues/lot/1246-1/501-dr-richard-neuhauss.html
and the report from the museum: https://preusmuseum.no/neuhauss-selvportrett-i-farge

With thanks to Dr Hanin Hannouch. 

Possibly my favourite photo of a daylight studio in my collection, but where was this suburban, sylvan, setting? From the list of other branch studios plastered across the façade, we know where it wasn’t – 72 Princes Street, Edinburgh. London, Blackpool, [Shore Road] Aberdour, Rothsay, Largs, etc. etc. Many of these are seaside locations, so probably only seasonal studios.

The signage says Cabinet photos 1/- [shilling] each, No Extra Charge for groups. Also says Have Your Photo taken with the Pony and Trap, …….. & Motor Car. These were staged with backcloths (examples can be seen on the  Edinphoto website).

Peter Claude Low (1874 – 1935) was an Edinburgh photographer. He was the eldest son of Peter Low (1842 - ), a portrait painter turned photographer, and Georgina Low (nee Hill, 1850 - 1893), they married in 1871 and had two sons Claude and Philip. In the 1891 Census, aged 17, Claude was living with his parents at 19 Henderson Row, Edinburgh, his occupation was recorded as camera maker. By August 1893 he was a photographer with a studio at 127 Ferry Road, Leith. Claude married Mary Thomson Masson in 1895,  Edinphoto has a photo of them.

Five years later he had moved to 54 Cockburn Street, which is where he was living at the time of the 1901 Census. Judging by his advertisements in the local press, this appears to have been his principal address in the up to c. 1909. Edinphoto’s study of the local directories has him at 72 Princes Street 1906 – 11, they also list studios at Roslin and Dunoon.

Claude’s younger brother Philip Ernest Low (1876 – 1936) also followed the same profession. From c.1900 – 1910 his main studio was in Bath Street, Portabello, though he also ran studios on the Promenade, Broughty Ferry and the Bathing Station, Aberdeen.

Both Claude and Philip later emigrated, Claude to South Africa, though he subsequently returned to the UK. Philip emigrated to initially Dunedin, New Zealand,. He ran several hotels, but apparently went  bankrupt during the Great Depression and so moved to Australia, where he died in 1936.

If anyone has any further information on Claude and Peter, or knows where this or their other studios were, I’d be grateful to hear from you.

Many thanks!