Blogs

The Wilson Bentley photographs of snowflakes held at the Natural History Museum have been digitised. An album of 355 of the original prints dating from 1885, by the man who came to be known as Snowflake Bentley was bought by London’s Natural History Museum in 1899, and the collection has now been digitised and made available to view online.

Details here: https://www.theguardian.com/science/2023/jan/04/snowflake-bentleys-19th-century-images-of-snow-crystals-put-online

View online: https://nhm.primo.exlibrisgroup.com/discovery/fulldisplay?context=L&vid=44NHM_INST:44NHM_V1&docid=alma9915394302081

The 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.

Details: https://kraszna-krausz.org.uk/book-awards/

The National Gallery is seeking a skilled Photographic Archive Assistant for 18 months to work on a large-scale project to digitise and audit Collection material in the National Gallery’s Photographic Archive. The project is delivered as part of the gallery’s Digital Dossier Programme (DDP), an ambitious research infrastructure and knowledge-enabling change programme that aims to make ‘everything we know about our pictures available to everyone’. 

Details: https://nationalgalleryjobs.ciphr-irecruit.com/templates/CIPHR/jobdetail_1651.aspx

The Curator of Astronomical Photographs, reporting to the Executive Director of the Harvard College Observatory, provides vision, leadership, advocacy, interpretation, and passion for the Observatory’s Astronomical Photographic Glass Plate Collection (Glass Plates). The Curator also serves as catalyst and coordinator of activities dedicated to connecting faculty, students, and an international community of scientists and researchers, to the Glass Plates to advance their scholarship and the mission of the HCO. The Curator will support conservation activities and advise on both short term and long term plans pertaining to stewardship of the Glass Plates. The Curator will be responsible for overseeing the work of LHTs and possibly Curatorial Assistants undertaking both physical and digital projects and will execute administrative tasks associated with daily operations of the Observatory Plate Stacks. 

The Curator will have enthusiasm and demonstrated ability in sharing and interpreting the Glass Plates for teaching purposes, in digital contexts, in publications, and through exhibitions and programming. The Curator will be adept in communicating the value and contemporary relevance of astronomical photography to experts and general audiences.  

The successful candidate will understand and appreciate the history of astronomy, particularly as it relates to optical observation methods and the roles that gender and care work have played in advancing the field; the ability to master over time all aspects of Glass Plate stewardship; enthusiasm for working with faculty and students; a proclivity for adopting new technologies and methods that will improve access to and use of the Glass Plates; and a collaborative and collegial outlook.

For more information see the full job posting:

https://sjobs.brassring.com/TGnewUI/Search/home/HomeWithPreLoad?partnerid=25240&siteid=5341&PageType=JobDetails&jobid=1980489

The V&A has announced that the second and final phase of the V&A’s Photography Centre will open 25 May 2023. Once open, the Photography Centre will become the largest space in the UK for a permanent photography collection, and the seven galleries – four of which will be new additions – will showcase the museum’s world-leading holdings and enable visitors to experience photography and its diverse histories in new ways. Phase One, Galleries 99 and 100, opened in 2018. 

The V&A has collected and exhibited photography since the founding of the museum in the 1850s, and today its collection is one of the largest and most varied in the world. Phase One of the museum’s Photography Centre opened in 2018, with three galleries designed by David Kohn. May 2023 sees the completion of the second and final phase of the Photography Centre with an additional four galleries, with base-build designed by Purcell, and fit-out designed by Gibson Thornley Architects.

Two of the new rooms will showcase global contemporary photography and cutting-edge commissions in rotating displays. The other new spaces – a room dedicated to photography and the book, and an interactive gallery about the history and use of the camera – will shine a light on the processes involved in photography, as well as the study and presentation of the medium. These new rooms join the three existing galleries, with two galleries for changing displays from the collection and a space dedicated to digital media, which will also present new content.

Highlights of the opening displays will include recent acquisitions exhibited at the museum for the first time, including works by Liz Johnson Artur, Sammy Baloji, Vera Lutter, Paul Mpagi Sepuya, Tarrah Krajnak and Vasantha Yogananthan, as well as a monumental photographic sculpture by Noémie Goudal.  Two major new commissions supported by the Manitou Fund will also be unveiled, with a photographic series by leading Indian artist Gauri Gill, and a digital commission by British media artist Jake Elwes. The Manitou Fund has committed to funding six commissions for the Photography Centre, which will see a new print and digital commission in 2023, 2025 and 2027. On completion, the Photography Centre will also feature new, themed displays, presenting works from the 1840s to the present day, beginning with Energy: Sparks from the Collection, exploring how all photographs need some form of energy to exist, and a smaller display, How Not to Photograph a Bulldog, featuring dog photography manuals from the Royal Photographic Society Library. 

Marta Weiss, V&A Senior Curator of Photography and Lead Curator of Phase Two of the Photography Centre, said: “Photography lies at the heart of the V&A. The museum has collected photography since 1852 and continues to acquire the best of contemporary practice. As photography plays an ever-increasing role in all our lives, the expanded Photography Centre will be more relevant than ever. We look forward to welcoming visitors to explore the medium’s diverse histories and enjoy our world-leading collection.”

About the Photography Centre:

 Room 95

Inside the Camera

Room 95 will be an interactive gallery exploring how cameras work and how they are used, from the Victorian view camera to the first iPhone. The highlight will be a walk-in camera obscura, demonstrating the optical phenomenon that is the basis of how all cameras work. A timeline of cameras will show their evolution, with accompanying animations explaining the inner workings of these iconic devices.

Room 96

Room 97, The Parasol Foundation Gallery

Photography Now

Two new galleries will be dedicated to showcasing recent acquisitions of global contemporary photography, including special commissions. Highlights in the inaugural display will include works by Liz Johnson Artur, Sammy Baloji, Vera Lutter, Paul Mpagi Sepuya, and Vasantha Yogananthan, all acquired with the support of the V&A Photographs Acquisition Group. A series of self-portraits by Tarrah Krajnak, acquired with the support of The Parasol Foundation Trust, will also feature. A spectacular anamorphic sculpture by Noémie Goudal will bring photography off the wall to explore both geological time and the nature of perception.

A new commission, supported by the Manitou Fund, from leading Indian photographer Gauri Gill will also be unveiled. This new body of work depicts temporary architecture on the outskirts of Delhi, ingenuously constructed by farmers from repurposed materials. The makeshift dwellings housed farmers bringing their concerns from the village to the capital, in response to new laws that threatened their economic security.

 Room 98, The Kusuma Gallery

Photography and the Book

A flexible space dedicated to Photography and the Book will reflect how books have been a fundamental way of presenting photography since the 1840s. The Kusuma Gallery, which has been funded by The Kusuma Trust, will visibly house the extensive Royal Photographic Society (RPS) Library, following the transfer of the RPS Collection to the V&A in 2017. The RPS Library contains journals, books, pamphlets and manuals from all over the world, spanning topics from aerial photography to X-rays. More than 20,000 books, published over nearly 200 years, will be available to visitors by request, with a selection of browsing books on open shelves.

The Kusuma Gallery will also feature changing displays of photographic books, periodicals and archival material.  The first display will be How Not to Photograph a Bulldog, a light-hearted foray into one of the many topics covered by the photographic manuals in the RPS Library.

Films about the RPS Library and photographic processes will be shown on digital terminals for visitors to enjoy. This flexible space will also be used for teaching and other programming. 

 Room 99, The Modern Media Gallery

Digital Gallery

One of the three Phase One galleries, The Modern Media Gallery continues to be dedicated to digital media, challenging definitions of what photography is and generating questions around the use of photography today. The gallery will showcase a new digital commission by Jake Elwes, supported by the Manitou Fund.

Room 100, The Bern and Ronny Schwartz Gallery

Room 101, The Sir Elton John and David Furnish Gallery

Photography 1840s-Now

Developed during Phase One of the Photography Centre, these galleries will be entirely rehung for the 2023 opening. A new display, Energy: Sparks from the Collection, will explore the diverse kinds of energy in photography – both the hidden processes intrinsic to creating a picture, and the subjects in front of a camera. Featuring works from the 1840s through to the present day, it will demonstrate how, from the advent of photography, power in all its diverse forms has sparked the imaginations of photographers.

Situated in the V&A’s Northeast Quarter, the Photography Centre reclaims the beauty of seven original 19th-century picture galleries, restoring them to their original glory and purpose. Planned in two phases, the Centre is part of the V&A’s FuturePlan development programme to revitalise the museum’s public spaces through contemporary design and the restoration of original features.

Beyond the physical gallery spaces, a key focus for photography at the V&A is research and the development of new sector-leading initiatives. A major strand is The Parasol Foundation Women in Photography Project, established in 2021 to support women in photography. Led by the inaugural Parasol Foundation Curator of Women in Photography, Fiona Rogers, and funded by Ms. Ruth Monicka Parasol and The Parasol Foundation Trust, the Project encompasses a curatorial post alongside acquisitions, research, education and public displays. The Project’s first acquisition by Tarrah Krajnak will be included in the opening display at the V&A. Also in May 2023, five winners of the inaugural V&A Parasol Foundation Prize for Women in Photography will be exhibited at Peckham 24 – south London’s vibrant three-day contemporary photography festival. The prize is dedicated to supporting and championing the work of women in contemporary photography and will run for three years.

The V&A is also delighted to announce additional support from The Bern Schwartz Family Foundation. Alongside significant funding of Phase Two of the Photography Centre, the Foundation has generously extended their commitment to a series of two-year Fellowships in photography for early-career curators until 2028. The V&A is pleased to announce the appointment of Mary Phan as the second Curatorial Fellow in Photography, supported by The Bern Schwartz Family Foundation, who will be in post until 2024.

The Photography Centre is being made possible by Sir Elton John and David Furnish, The Kusuma Trust, The Bern Schwartz Family Foundation, The Parasol Foundation Trust, Modern Media, Shao Zhong Art Foundation and many other generous supporters.

I'm researching the Derby Master Class project.  Initiated by Nigel Trow at the Derbyshire College of Higher Education in 1975/76 it brought a number of internationally recognised photographers to the course at the institution.  It ran for several years as a very distinctive feature of the course before gradually reverting to a more recognisable Visiting Artist programme.  I have the archive materials assembled by Richard Sadler, who taught at Derby through the period (courtesy of his Estate) and hope to publish a small monograph on the subject.

In addition I have other materials, catalogues, pamphlets, magazines and cuttings on a range of photographic activities relating to the late seventies and eighties that I'd happily pass on to anyone conducting research into the period.  If you are interested I will shortly post the listings of what is available.

Regarding the Master Class programme - if you were involved, as staff, student, or otherwise I'd be interested in making contact.

Image: Minor White, portrait by Richard Sadler, taken Nov. 1975 at Derby Master Class, Derbyshire College Of HE.

The Guardian newspaper has reported that the largest photography library in Africa has opened in Ghana’s capital, Accra, showcasing the work of the continent and diaspora’s forgotten, established and emerging talent.

Founded by Ghanaian photographer and film-maker Paul Ninson, the Dikan Center houses more than 30,000 books he has collected. The first of its kind in Ghana, a photo studio and classrooms provide space for workshops while a fellowship programme is aimed at African documentarians and visual artists. An exhibition space will host regular shows, the first of which is Ahennie, a series by the late Ghanaian documentary photographer Emmanuel Bobbie (also known as Bob Pixel), who died in 2021.

Read the full piece here: https://www.theguardian.com/global-development/2022/dec/20/africas-biggest-photography-library-opens-in-ghana-accra-dikan-center

The Dikan Center website is here https://www.dikancenter.org/ and notes: 

Dikan is a Ghana-based non-profit organization committed to visual education through the advancement of visual storytelling. We also work to increase public access to the art of photography. Dikan will be the first photo library established in Ghana, and currently has in stock of more than 30,000 photography and film books with special collection of photo books of Africa.

Our objective is to inspire, train and support photographers and filmmakers in Ghana and Africa as a whole. Dikan aims to make visual education accessible to everyone, promoting public awareness of photography through educational outreach, immersive workshops, online education, studios and events.

138 glass plate negatives by Alvin Langdon Coburn held at the John Rylands Library, Manchester, have been digitised. The negatives are on deposit from a  private collector. 

Details of the Coburn material held at the JRL is available here: https://www.library.manchester.ac.uk/rylands/special-collections/exploring/a-to-z/detail/?mms_id=992983876703501631

Does anyone recognise the location or the photographer of these three photographs? The church in the second photograph can be seen in the background of the third photograph. The first and second photographs have a label on the reverse of the frame stating "R. Wilkinson, Permanent Photograph, Trowbridge, Wlits." The building on the left in the third photo has a sign pointing to "Oxford" and another advertising excursions to Portsmouth, Southampton and Isle of Wight.

Any assistance would be greatly appreciated.

Tony

Christchurch, New Zealand

The Library of Congress is now accepting applications for the 2023-2024 National Stereoscopic Association Research Fellowship. Please share the announcement with any colleagues you think might be interested.

National Stereoscopic Association Research Fellowship
The National Stereoscopic Association Research Fellowship is made possible by a gift from the National Stereoscopic Association (NSA) to support research within the Prints & Photographs Division holdings of stereoscopic photography and the unparalleled photographic history collections at the Library of Congress—including over 15 million photographs, rare publications, manuscript materials, historic newspapers, and extensive subscription database access.

Fellowships will be awarded annually to be used to cover travel to and from Washington, D.C., accommodations, and other research expenses to assist fellows in their ongoing scholarly research and writing projects on stereoscopic photography, or more broadly within the field of photographic history to the extent that research is connected in some manner to the Library's holdings on the format.

Eligibility and Guidelines
Graduate students, postdoctoral researchers, independent scholars, creators, and other researchers with a need for Fellowship support are encouraged to apply. Individuals who are not U.S. residents but who otherwise meet the above qualifications may apply and be considered for a Fellowship, contingent upon visa eligibility.

In the interest of increasing awareness and extending documentation of Library of Congress collections, Fellows are required to make use of the Library's collections, be in residence at the Library during the award period, and share information derived from their research through publication in Stereo World or on the Library's Picture This blog, a public lecture, presentation at the following National Stereoscopic Association Convention, or other event, either during their residency or within six months of completing their research at the Library. Each Fellow must also notify the selection committee if their work results in formal publication and provide a hard-copy or online access to the work.

To Apply

Information about applying for the fellowship is available at this link: https://www.loc.gov/rr/print/national_stereoscopic.html

Applications are due on February 28th, 2023. The Fellowship must be completed between September 1st, 2023 and August 31st, 2024.

Questions should be addressed to:
Micah Messenheimer (he/they)
Curator of Photography
Prints and Photographs Division
Library of Congress
Email: stereofellow@loc.gov
Phone: (202) 707-0591

Members may be interested in an article that has just been published on nightclub photographers from the 50s and 60s. I would be interested in making contact with others who have an interest in the 'snappers' who worked in pubs and clubs.

The link is here:  After Midnight: Nightclub Photographs from the ‘50s and ‘60s – David Ford – Porridge (porridgemagazine.com)

Image: David Ford

The British Film Institute (BFI) has played a vital role in shaping British cinema, launching the careers of countless filmmakers. It began financing productions in the 1950s, allocating state funding for film until the establishment of the UK Film Council (UKFC) in 2000. These developments coincided with significant social change in Britain, especially for women in the immediate post-war decades and via the emergence of the second-wave feminist movement in the 1960s.

Building on recent work in feminist British film history, and in collaboration with Dr Josephine Botting, Curator of Fiction Film at the BFI, this project will focus for the first time on the women filmmakers who were funded by the BFI’s production schemes, to examine how women’s films were shaped by the BFI's funding and its institutional barriers.

This unique lens will enable the researcher to develop a historiographical framework with which to explore the various obstacles faced by women filmmakers during this period, and how they intersected with other factors such as class, race, and disability (Crenshaw 1991).

The project will focus on the following key research questions:

1. How did women filmmakers navigate the male-administered funding streams and oversight of the BFI Production Board?
2. In what ways did these women’s interests, aesthetic concerns, and choice of medium differ from their BFI-funded male counterparts, and how did this change across the funding period?
3. To what extent did the BFI’s funding choices influence the direction of women’s filmmaking in Britain, and how can this be situated within the historical, socio-cultural, and economic context of the time?

To answer these questions, the doctoral researcher will be encouraged to develop a creative methodology, combining skills of archival research, interviews, and media practice, to produce a thesis that explores ways in which multimedia responses (eg. data visualisation, video essays, podcasts, augmented reality) can inform the interpretation of the work in the BFI’s collection. The core research will be based on an analysis of the BFI National Archive’s holdings of the 82 BFI-funded titles directed by women between 1952-2000, when state funding was transferred to the UKFC. This period includes work by renowned filmmakers Sally Potter, Gurinder Chadha and Ngozi Onwurah, through to lesser-known productions such as The First Step (Felicity Gray, 1961) and Short Vision (Joan Foldes, 1956). The project will be augmented by research into a selection of BFI-funded productions since 2011 (when it resumed responsibility for film financing), providing opportunities for comparisons between women’s experiences in the 20th century and in recent years.                                                                                                                                                                                     

 By researching this material, the project aims to:

• Develop a historiographical framework for evaluating the relationship between women filmmakers' state-funded artistic production
• Explore multimedia responses to the material, to offer original ways of analysing how gendered working environments and practices have produced, framed, and influenced filmmaking in Britain
• Identify key titles for digitisation (or re-digitisation into modern formats) alongside other contextual materials, for production as a public-facing national cinema touring programme, Blu-ray boxset or BFIPlayer collection.

This CDA is funded by the TECHNE DTP partnership - led by Royal Holloway

For details on how to submit an application, please visit our webpage .

Recent challenges such as the climate crisis have pushed the field to consider how photography shapes and is shaped by the environment. From the mining of natural resources to the effects of mass digital storage, the environmental impact of photography is at the forefront of discussions in photography research, education and practice. For this conference, we would like speakers to reconsider the history of photography using the environment, broadly understood, as a departing point. What kind of histories can be written about photography in its environment? Would it be useful to understand photography as an environment? We look for papers that not only examine photography from the point of view of current environmental concerns, but also, how photographic practices, images and archives have developed in relation to natural, industrial and other environments. By centering the environment as an analytical category, we hope to discuss the ways in which natural, colonial, personal, digital and other types of environments have shaped photography as well as how photographic histories can help to understand environmental histories.

We welcome 15-minutes papers on topics that address themes like (but not limited to):

• How exactly has photography participated in the construction and disruption of environments?
• What has been the environmental impact of the production, consumption, circulation and storage of photography, in the past as well as the present?
• Histories of environmentally friendly photography before the 21st century.
• How have distinct environmental conditions around the globe influenced photographic practices, the development of photographic processes, and the course of the history of photography more specifically?
• What contributions can the field of photographic history make to deepen understanding about the climate crisis?
• How can photographic historians draw on their knowledge and expertise to assist in nurturing care for the environment and its sustainability for future generations?

Please send paper proposals to phrc@dmu.ac.uk by 1 February 2023, embedding in the document your name, contact details, up to 5 keywords and institutional affiliation (when applicable).

Photography in its Environment
Photographic History Research Centre, De Montfort University, Leicester, UK
12-13 June 2023
Hybrid (in person and online)
Follow on Twitter @PHRC_DeMontfort
Conference hashtag #PHRC23

Image:  Mark Kasumovic, Skipsea #2, inkjet print, 50 x 60 in, 2020

The National Portrait Gallery in London has announced that it will reopen its doors on 22 June 2023, following the most significant redevelopment in its history. Supported by longstanding supporter and Reopening Partner, Herbert Smith Freehills, visitors to the new National Portrait Gallery will experience a complete redisplay of the Collection, a transformational refurbishment of the building, as well as an enhanced welcome and greater access through the new Ross Place entrance. The re-opening exhibitions will include photography. 

The redevelopment project – titled Inspiring People – has included a comprehensive redisplay of the Gallery’s Collection from the Tudors to today, which will be displayed in beautifully refurbished galleries, and the restoration of the Grade I listed building and many historic features. The designs, by Jamie Fobert Architects working in partnership with Purcell, and thanks to the historic gift from the Blavatnik Family Foundation, will incorporate the Blavatnik Wing, the entire first floor encompassing nine galleries, which will explore society and culture in the 19th and early 20th centuries. The designs will also see the return of the Gallery’s East Wing to public use as the Weston Wing, restoring original gallery spaces and creating new retail and catering facilities. The Gallery’s Ross Place entrance will create three new doors, converted from large windows, opening up the North Façade of the building in St Martin’s Place. A new Learning Centre will also welcome visitors of all ages with studios, breakout spaces, and high-quality facilities.

See:  www.npg.org.uk

In November 2022 I bought this portrait photo in an East Lothian shop selling second-hand goods and have been trying, without success, to identify (1) the photographer who signed the print and (2) the 'sitter' who is the subject of the photo.

Because I bought the photo in Scotland I have searched the two volumes of SCOTTISH STUDIO PHOTOGRAPHERS TO 1914 (D. Richard Torrance [2011]) using a variety of possible names. However the names do not appear to have ethnically Scottish origins.
The signature is unconventional and therefore not easy to read and my best guess FOSO O, NIASSCHE could well be wrong.  Alternative names might be: TOLO O; M'ASSCHE

Size of print:- 176 x 239 mm

So I'm wondering if there is anyone here at BPH who might recognise the photographer's name or might recognise the sitter.

Can anyone help solve a carte-de-visite 'mystery' involving the celebrated firm of W. & D. Downey? I recently purchased a Downey cdv of St. Nicholas Church, Newcastle (now Newcastle Cathedral) c. mid-1860s.

What is intriguing is that the address cited on the verso - 4 Eldon Square - is not the same as that used on every other Downey card of the period that I've seen - 9 Eldon Square, Newcastle-on-Tyne.

A blogpost I've written ('If photographs could speak' - 7th December 2022) suggesting various explanations has more details - www.pressphotoman.com

It also includes a link to a twitter thread in response to the post.  

Are you an enthusiastic and inspiring leader? Join our team and help deliver our mission, vision, values, and artistic programme. This role is an exciting opportunity to lead Photoworks in our next chapter, playing a key part in delivering the organisation’s ambitious plans for the future.

The Director will lead Photoworks in shaping the overall strategy, planning, policy and development of the organisation. Leading the strategic vision and artistic direction of the organisation including exhibitions, biennial festival, commissions, learning and engagement, publishing and digital content. 

About Photoworks

Photoworks champions photography for everyone. We are an international platform, global in reach, and have provided opportunities for artists and audiences since 1995. We do not have a physical venue, but our online channels are always open. Our programme brings new experiences to audiences and opens up new ways to encounter photography. Photoworks is a registered charity and the only organisation with a national remit for photography in England. Our work is supported by public funding through Arts Council England’s National Portfolio. 

Deadline for applications is 9am Monday, 9 January 2023.

Details: https://photoworks.org.uk/opportunities/were-hiring-director/

If I wanted lessons in colour photography in 1933-1935 and was willing to pay, where would I go? Full disclosure: "I" am László Moholy-Nagy, my ex-wife Lucia Moholy has set up the lessons in the UK for me (probably in London) and I go on to use Dufaycolor, Vivex and the Finlay colour processes among others. Could I have got lessons through the RPS colour group? Who was not just using these processes, but teaching them at the time? Lucia would go on to teach at the London School of Printing and Kindred Trades (later London School of Printing and Graphic Arts) and the Central School of Art and Design, in case either of these are possibilities? All help appreciated and credited!

I recently came across an interesting postcard in the belongings of a deceased 92 year old relative. It is of an array of corpses laid out for a photograph with an inscription in Spanish. It is printed in sepia monochrome.
Wondering if it is Mexican revolution c1910. Anyone any idea how this would be in the possession of a Northern England working class family?

Photography has shaped the ways we imagine the recent past and how we experience life in the present day. The Photographic History MA will provide you with the skills needed to explore photographic materials, practices, processes, and critical field scholarship. Along the way, it will also equip you with real-world professional expertise through remote fieldwork experience at well-known photography organisations.

The internationally renowned teaching staff are based at the Photographic History Research Centre (PHRC), bringing with them outstanding links with major photographic collections, archives, galleries, and museums worldwide. Networking through vibrant research seminars, workshops, and conferences, you will gain an in-depth understanding of the relationship between photography, history, and culture, while enhancing your research skills and employability in the field.

Aimed at anyone with deep interest in photographic practice, communication media, visual history, or archival collections, the Photographic History MA will prepare you for further study and careers in the culture sector. We equally welcome per-module applications, an option especially suitable for field professionals and employers looking for Continuing Professional Development—CPD opportunities.

As this course is delivered online by distance learning, you will need access to the internet and a computer with software capable of reading and writing Rich Text Format documents, such as Microsoft Word.

Key features

• Flexible mode of delivery allows you to study around your job, family, and other commitments.
• Full-time, part-time, and per-module study options enable you to develop your studies at your own pace with ongoing support from our expert academic staff.
• Completing an independent project for an external photography organisation equips you with real-world professional skills and expertise.
• Focus on social and cultural photographic practices expands your knowledge of the cultural and social significance of photography throughout its history.
• Consideration of digital and analogue photography provides you with deep understanding about the changing socio-political role of photography and its cultural conception.
• Work alongside a renowned team of expert scholars from the Photographic History Research Centre (PHRC) and beyond.

Details: https://www.dmu.ac.uk/study/courses/postgraduate-courses/photographic-history-ma-degree/photographic-history-ma-degree.aspx