Blogs

The Reece Winstone Archive is searching for 400 lantern slides taken by Kuner of Bristol, which formed the basis of lectures he gave throughout the west, on historic and natural subjects, as far away as Cornwall, the Rivers Wye, Somerset Chew etc.- he was a keen cyclist and one-time secretary of Bristol Photographic Society. 

The slides were of sufficient interest to become the Kuner Memorial slides and were added to the BPS permanent collection after his death in 1923. We now know they were not lost when the BPS rooms were destroyed in the blitz and were brought to Reece 'to sort' by William J Foster ARPS, acting either for himself, the BPS, WCPF or PAGB, in 1954. Reece may have been gifted 28 duplicate slides, including hand-coloured ones for his own collection, although they were not added to his accession list in common with other gifts of slides from colleagues. He preserved Kuner's printed labels of lectures stuck on broken slide box lids, whilst renewing the slide boxes. These slides have now been digitised.

Foster was well known to Reece and had attended one of his 1931 rambles to Wells organised for the BPS (left)  All efforts to locate the glass slides have drawn a blank in local, club, national and archived collections, leaving only private collections unchecked. Foster lived latterly at 63 Ashley Hill, Bristol and had run a successful builders merchants of the same name, originally sited adjacent the Bristol River Frome which had been the subject of a source-to-mouth ramble by Kuner, repeated in reverse 50 years later by Reece for BPS. Foster died in 1966, aged 86 and a letter of 1980 from his great-grandson in the Archive written from Bedford says he gave away many photographs following his wife's death in the 1960s.

Holders of any Kuner's glass slides (usually not bearing his name, but spotted with title on top edge in black caps. - see photo of lecture labels) would be most welcome to partake in this digitising project. We may be able to identify Kuner slides by handwritten titles, if you are uncertain - please contact us at reecewinstonearchive@gmail.com.

Our search for 308 lantern slides by Reece covering the history of photographic clubs in the South-west found a successful conclusion in the WCPF's collection last year, held under the heading 'Fed(eration) Faces', and have now been digitised.

Grateful thanks to all involved in the search.

Images:

Top right: Kuner with moustache, on left, in the field.
Centre: Foster in light suit.

I am looking for widely distributed photographs taken at the evictions on the Vandeleur estate, Kilrush, IR.  Some 50 photographs were taken before, during and in the aftermath of these evictions.  It was the most photographed of the Victorian era Irish evictions.  Photographs were widely distributed, by witnesses present at the evictions, and those who came to Kilrush in the aftermath. The witnesses included 5 Americans and 6-8 English and Scottish individuals.  The number who visited afterwards has not been established, but likely included another half-dozen.  Many of these individuals and parties brought home photographs obtained from the photographers who took them, obtained from agents of the National League who escorted later visitors, or purchased from the Lawrence studio or other sources.  I have found references in contemporary British newspapers that these photographs were projected by magic lantern technology to various groups and societies.  If anyone knows of this I would like to be informed.

Photomonitor, the online photography platform, carries an interview with Tate Modern's Senior Curator International Art (Photography) Yasufumi Nakamori. He discusses Japanese photography and Tate Modern's strategy representing photography in its programmes. He was interviewed by Romina Provenzi. 

Read the full piece here: https://photomonitor.co.uk/interview/yasufumi-nakamori-in-conversation/

Since 2011, Photomonitor has been promoting photography and lens-based media, publishing images and texts from artists and writers around the world on its online platform. 

Image: Dan Dennehy, Minneapolis Institute of Art

Applications are open for Bodleian Visiting Fellowships which support scholars in any field of study and from anywhere in the world to undertake research in the Bodleian's special collections. Of particular interest to BPH is the Sloan Fellowship in Photography which supports a research visit by a scholar in the history of photography. In addition to the archive of William Henry Fox Talbot, the Bodleian holds photographs within nineteenth- and twentieth-century colonial missionary archives; archives of other photographers; photographically-illustrated books; and those within the papers of individuals, famous families or organisations.

Applications for Bodleian Visiting Fellowships will be accepted beginning Friday 1 October 2021, with a submission deadline of noon GMT on Tuesday 30 November 2021.

See more and apply here: https://www.bodleian.ox.ac.uk/csb/fellowships/bodleian-visiting-fellowships

Dr Annebella Pollen has been awarded a £100,000 Philip Leverhulme Prize, which she will use to fund a new study into the history of photography by children from 1900. As a personal award rather than a research grant, the prize money can be used for any research purpose. Thirty prizes are awarded annually, to a changing group of six subject areas each year.

Dr Pollen, Director of the Centre for Design History, said: “I plan to use the fund to take extended research leave as well as to support the costs for a major new illustrated book and exhibition on photography by children from 1900 to the present. This draws on my long-standing interests in mass visual culture and its undervalued histories. To have two years to explore a substantial new area will be a huge privilege. I'm really looking forward to bringing to fruition ideas that I've been considering for some time but have not previously had the opportunity to pursue in depth."

Read more here: https://www.brighton.ac.uk/news/2021/university-of-brighton-academic-receives-prestigious-100000-prize

I wonder whether any members can offer advice on finding a home for an archive of industrial photography? This collection relates to one major assignment undertaken in 1993/4 by noted industrial photographer, the late Donald D. Fraser FBIPP FRPS and myself Clive Friend FBIPP. We worked as two teams across the UK, Europe and North America illustrating the substantial range of industrial premises owned by the Caradon Group. The purpose was to produce a corporate book for the Caradon Group of all their possessions. The range of industrial processes illustrated was very wide. This assignment was significant for various reasons. It was probably one of the largest single industrial photography commissions undertaken and given the time, probably one of the last to use film  We investigated digital possibilities but concluded that digital had not yet reached the standard we would require for this project.  Consequently, all images were produced on colour negative and positive materials. Don used Hasselblad 6x6 and I used Mamiya RZ 6x7. I have a complete set of all images produced in both negative and positive forms plus a quantity of the books we produced. We used electronic flash to light some very large areas. This collection is also a record of a world of industry as it was nearly 30 years ago.

Don was a flamboyant personality who undertook his assignments with great style. The collection includes many striking images mostly unseen outside this project. The Caradon Group no longer exists and Don Fraser died in an accident in Australia in 2001.

I would like to find a worthwhile repository for these images where they will be conserved and accessible to future generations.

Please get in touch if you are able to help or advise.

Under Newborn Stars tells the story of photographer Maja Blumenfeld - From her upbringing in Berlin to her escaping Nazi Germany and resettling in New Zealand. The film provides insight into her journey, her view on photography and the importance of objects connected to people and significant moments in her life.

Photographer Maja Blumenfeld’s collection of previously hidden and largely unpublished photographic negatives capture the faces, landscapes, architecture and lifestyles of interwar Berlin and mid-twentieth-century Auckland, New Zealand. The archive of glass plate and Kodak negatives resurfaced in 2014 still in its original packaging alongside handwritten notes. Maja’s granddaughter Roshannah Bagley has spent the last five years discovering the names and stories with Maja to preserve and eventually share with the world for the first time.

Born in Berlin in 1919, Maja trained as a photographer in her teens before being forced to flee Nazi Germany in 1938 with her family to Auckland, New Zealand. On arrival she took on a role at the local newspaper The Auckland Star as a photographer until her career was cut short due to the war. After moving back to Europe in the late sixties, she settled in London with her New Zealand husband and children in 1970. Now at age 102, Maja still lives an independent life in northwest London.

The film was shot in September 2020 at Maja’s home in North London and Kasia Wozniak’s photography studio in South London. It was created by Hedvig Ahlberg and Roshannah Bagley, and supported by Something™’s Pioneers initiative.

Roshannah is a multidisciplinary creative and curator. She spent a decade working in fashion before moving into advertising and the creative industries. She is currently a Studio Manager at Something™ and dedicates her spare time to curating and producing projects and events that champion underrepresented creatives. Hedvig is an independent director and editor with a focus on telling stories about women. She also works as a producer at Something™ where she has worked on a wide range of productions from short form to feature series and documentaries.

Link to film here.
English and German subtitles available.
Te Neo Māori subtitles will be available soon.
Download Trailer
Resources

Twelve experimental photographic artists exhibit their work in Oxford as part of Photo Oxford Festival opening in the Main Gallery, The Old Fire Station, central Oxford, from the 15 October-13 November. Each artist focuses on materiality within their practice. They are inspired by historical processes invented in the 19th Century, and work with the fundamental elements of the photographic medium: Light, Time and Material.

The exhibition brings together artists from Australia, France, Holland, Poland, Ukraine, the United States, and the United Kingdom. The artists explore the materiality of the photograph through experimentation within analogue photographic techniques to create unique contemporary art photography. Over the past twenty years, photography’s innovative presence of immaterial existence/cloud-based imagery and material existence anchored in objectivity has shifted focus.

This exhibition not only explores the movement of photography from representation to abstraction, it also looks at the thread of analogue practitioners who continue to practice with finite materials or new materials with fresh ideas on
what photography might be or do in the 21st century.

These artists reach back into the history of photography seeking new ways of thinking and making photographs. These photographers are part of a movement that push the boundaries of photography as a medium. The idea that analogue photography is obsolete is outdated and rather than a rejection of the historical techniques a raft of artists embrace the beginnings of the medium, using it in the most creative and energetic way to generate unique photographic art that is at the forefront of the definition of fine art photography.

List of artists: Neil Ayling, John A Blythe, Sylvie Bonnot, Ellen Carey, Alice Cazenave, Karel Doing, Nettie Edwards, Hannah Fletcher, Anna Luk, Rita Rodner, Megan Ringrose, Kateryna Snizhko. Workshops • Karel Doing (Phytography) 23rd October • John A Blythe (Cyanotype) 30th October • Nettie Edwards (Anthotype) 6th November • Alice Cazenave (Chemigram) 13th November

Fabric of Photography
Curated by Megan Ringrose
Venue: The Old Fire Station,40 George Street, Oxford.
Date:15th October - 13th November

Bookings: https://www.fabricofphotography.com/how

Essays by Anna Luk, Claire Raymond and Duncan Wooldridge.

Website: https://www.fabricofphotography.com

On 14 January 1971, The Photographers’ Gallery opened its doors with The Concerned Photographer, an exhibition that had previously been shown in the United States, Switzerland and Japan, and which presented photography as the optimum medium to document social conditions. This online conference has been organised to mark the 50th anniversary of the opening of The Photographers’ Gallery in 1971 and will explore the legacy of its innovative programming within broader infrastructures of exhibition, display and photographic practice, from the 1970s to the present day.

It will take place over three sessions on 25 November, and the 2nd and 3rd of December 2021. Each is £5 or £3 concessions. 

Full details of the programme are here: https://thephotographersgallery.org.uk/whats-on/concerning-photography-photographic-networks-britain-c-1971-present

The conference will be held entirely online and is a collaboration between the Paul Mellon Centre for Studies in British Art and The Photographers’ Gallery. 

This book is a milestone along the complex road which, in less than two years, has led to the start of a new phase in the management and operations of the Fratelli Alinari photographic studio that was established in 1852. On Alinari: Archive in Transition explores the transition of the Alinari Photographic Archive to public ownership by the Regione Toscana under the management of the newly founded Fondazione Alinari per la Fotografia. It includes contributions from international scholars, as well as photographs and interviews by the artist Armin Linke.

On Alinari: Archive in Transition
Edited by Costanza Caraffa
Photography by Armin Linke
Contributors: Estelle Blaschke, Elizabeth Edwards, Joan M. Schwarz, Tiziana Serena, Kelley Wilder

Five million photographic objects. A time of transition. A photographic heritage of international interest with a history that began in 1852. A move from the headquarters at Largo Alinari 1 in the center of Florence to a specialized storage facility in the Calenzano industrial park on the city’s outskirts. A waiting period between the acquisition by the Regione Toscana and the transfer to the future headquarters of the new Fondazione Alinari per la Fotografia. A milestone shift from private company to public institution. In the second half of 2020, a group of scholars reflected on the potentials of this transitional state, while photographer and filmmaker Armin Linke documented the stored crates and boxes, and listened to some of the actors involved in the Alinari firm and the recent institutional transformation. A dialogue between theory and practice that examines and questions the process of institutionalizing photographic archives.

More details on: https://www.khi.fi.it/en/publikationen/einzelveroeffentlichungen/on-alinari-archive-in-transition.php ;

On Alinari: Archive in Transition is a result of the dialogue that began during the study day held on 13 October 2020: https://www.khi.fi.it/en/aktuelles/veranstaltungen/2020/10/on-alinari.php

Recordings of the event are available here: https://vimeo.com/showcase/7734794

Thank you to all of you who answered our survey last year, of the Photographic History Research Centre's digital resources for photographic history. The time you took to answer our survey has been invaluable in assessing the range of users and research on these sites. It has also been gratifying to hear your messages of thanks, which have been passed on to those who originally created them.

I'm pleased to announce that we will be undertaking a security upgrade to safeguard the following sites for the future (in no particular order):

http://fentonletterbooks.dmu.ac.uk/

http://foxtalbot.dmu.ac.uk/

http://peib.dmu.ac.uk/

http://erps.dmu.ac.uk/

http://amelina.dmu.ac.uk/

http://rpsmembers.dmu.ac.uk/

DMU is committed to open access research, and the IT department (ITMS) is supporting PHRC's mission to make open research resources  for  photographic history. In the coming months there may be some disruption to the websites that you normally use. We hope that these interruptions will be short, and will not inconvenience you greatly. However, in the knowledge that there will be some inevitable down time, I would encourage all researchers who have time-sensitive projects not to delay any use they need to make of these sites. Work will begin very soon.

Again, Many thanks for all your efforts.

Kelley Wilder

If, like me, you search for photographic images on eBay, be aware that today they have changed their categories and "Photographic Images"  has changed, and the "Antique (pre 1940) category has been retired (their word not mine). So some old saved searches may not now work, and new ones will need to be created once you find out where they now are.

Full details can be found here: eBay category changes 

Many items are being lumped into a catch all new photographs category including:

CDV/ Cabinet | ID: 409 - All listings are being moved into [Photographs - 262421].

The new structure:

• Photographic Images | ID: 262413

  New Category

  • Film Slides | ID: 262415

    New Category

  • Magic Lantern Slides | ID: 90696

    Moved from [Antique (Pre-1940)-407] Renamed from [Slides]

  • Negatives | ID: 112478

    Moved from [Antique (Pre-1940)-407]

  • Photograph Albums | ID: 262416

    New Category

  • Photographs | ID: 262421

    New Category

  • Stereoviews & Stereoscopes | ID: 13706

    New Category

Not so happy hunting!

Exit Photography Group spent six years taking photographs and recording interviews in 1970s Britain. It's all in their book: Survival Programmes in Britain's Inner Cities. I will be talking about photography as protest and resistance through Exit's archive at LSE on the 21st of October.  Free but ticketed - https://www.eventbrite.co.uk/e/radical-photography-urban-change-the-exit-photography-group-lse-archives-tickets-177087933777

Sound and Vision will inspire one of the UK’s youngest, most diverse, and fastest-growing cities by providing wider access to iconic, world-class collections of photography, radio, film, TV, sound and digital technologies—from the world’s first moving image to the advent of the digital age. Created in close consultation with local communities, the galleries will make the museum the cultural cornerstone of many key projects including Bradford’s bid to be the City of Culture in 2025, the city’s culture strategy Culture is Our Plan, and the commitment to building a digital economy.

The initial first pass grant of £318,963 has been awarded for the development phase of the project, with the museum due to submit its second-round application next year to fund the delivery stage of the project. If the museum is successful in its second-round application, it will be awarded more than £3 million from The National Lottery Heritage Fund towards the delivery of the £6 million Sound and Vision project.

Commenting on this significant milestone, Jo Quinton-Tulloch, Director of the National Science and Media Museum, said: “We are thrilled that The National Lottery Heritage Fund has awarded us this enormous opportunity to bring our world class collections to life in new and exciting ways. By working collaboratively with our local audiences, we will explore the relevance and impact of image and audio technology throughout history, connecting the museum’s collections not only to this global communications age, but also directly to our home city. The project will give us the vital opportunity to realise the Science Museum Group’s mission of making STEM education open for all, helping to close some of the disparities caused by the pandemic and providing fantastic opportunities for our communities.”

Sound and Vision will re-energise Bradford’s cultural offer through three distinct focus areas: the internationally significant Science Museum Group collection; STEM; and working collaboratively, increasing participation with the collection. The development of the new galleries will explore key stories which are relevant to all our lives, including the creation of the world’s first photograph; Louis Le Prince’s ground-breaking work in moving images and film; and the forgotten pioneer of the pixel who created the building blocks of digital photography.

Sound and Vision will engage visitors in STEM by uncovering the science behind the everyday, showing that science is relevant to everything we do. The project will also work with local communities through a detailed activity plan, including opportunities to collect community stories, inspiring more people to reimagine their relationship with STEM and support them with opportunities for employment and upskilling, and responding to Culture is Our Plan, the culture strategy for Bradford.

During the project’s development phase, the museum will continue to consult and engage with the wider community, as well as setting up an Access Panel and Youth Forum for specific consultation. Development of the Sound and Vision gallery interpretation and design brief will commence, alongside audience research, staff training and volunteering opportunities. A number of new posts will also be recruited to join the project team, and the museum will be piloting new learning programmes to complement the activity plan.

More information about Sound and Vision will be made available on the National Science and Media Museum website. You can also follow the latest updates on the National Science and Media Museum’s Twitter, Facebook and Instagram.

A chance discovery of thousands of photographs in the archives of a London council has brought back to life a local community’s fight for survival and a new exhibition opening 29 October is telling the story. The exhibition features an extraordinary period of community action in the 1970s and 1980s in Blackfriars, Waterloo and North Southwark along London’s South Bank.

For many it was a fight for survival as businesses moved out and land was earmarked for office development leaving isolated communities struggling to maintain their way of life. “A timely exhibition around the effectiveness of community campaigning in the 70s and 80s as the area continues to face development pressures” said George Nicholson, one of the leading campaigners of those times and still a local resident.

It was a period of huge empowerment for local residents. Campaigns, protests and direct action were the tools to force local authorities and developers to recognise the communities’ needs. Estate tenants formed associations to negotiate with their landlords and community groups flourished. There were great successes like at Coin Street with new housing, the Colombo Street Sports Centre and the saving of important facilities like chemists, post offices and launderettes.

The exhibition is presented by “SE1 Stories”, an umbrella group of people who were active in the campaigns in the 1970s and 80s. The group came together in 2019 when thousands of photographs were discovered in the archives of Southwark and Lambeth councils. Many were taken by members of the group for SE1 Newspaper, a monthly paper produced by and for the local community. Many more come from the innovative Blackfriars Photography Project that gave people the equipment and skills to be photographers.

The exhibition focuses on the area around Blackfriars Road as part of Southwark Council’s Blackfriars Stories initiative. SE1 Stories plans to present more exhibitions to highlight the rich stories of community action in Waterloo, North Southwark and Bermondsey.

Blackfriars SE1 in the 1970s. Community action in a London neighbourhood
29 October 2021 - 11 November
Blackfriars Settlement, 1 Rushworth Street, London, SE1 0RB
The exhibition will travel to other local venues including Morley College, 61 Westminster Bridge Rd, London SE1 7HT

https://se1stories.uk/

Recently acquired by The Burton at Bideford, An English Eye is a collection of photographs by renowned local artist-photographer, James Ravilious. The collection provides an important record of life in North Devon between 1972 and 1997, and also represents the best of James Ravilious’ work as a whole.

Son of Eric Ravilious (war artist, engraver and designer) and Tirzah Garwood (artist and wood engraver), James Ravilious worked as an art teacher in London before moving down to Devon in 1972 where he took up photography professionally. Beaford Arts commissioned him to take images for a project called Beaford Archive, set up to capture the fast disappearing traditional landscapes and practices of rural life in Devon. During the lifetime of the project, James Ravilious took more than 80,000 black and white photographs.

The English Eye is a retrospective exhibition of James Ravilious’ work. Curated by the artist himself alongside the photographer and writer Peter Hamilton (1996-97), the series of photographs grew out of a monograph of James’ work published by The Royal Photographic Society’s Pictorial Group in 1989. It showcases James’ natural ability to perfectly capture the inner narrative of his subjects, and chronicles both the people and the landscape of rural Devon from the 1970s to the late 1990s.

Working primarily in black and white, his work was influenced by English landscape artists as well as photographers such as Henri Cartier-Bresson and Edwin Smith. He developed a distinctive technique using older, uncoated lenses on his Leica rangefinder camera. A compensatory development process gave his photographs a subtle and ‘silvery’ quality.  

Last year, The Burton secured this collection for the future with the help of the Bideford Bridge Trust and the Friends of the Burton. It now forms an integral part of the Burton at Bideford’s Permanent Collection.

James Ravilious' An English Eye, (1997)
6 October-31 December 2021
Burton Gallery, Bideford, Devon

See: https://www.burtonartgallery.co.uk/exhibitions-activities/an-english-eye-james-ravilious/?portfolioCats=12

Picture Post was Britain's best-selling weekly magazine during the 1940s and early 50s. Through its picture stories, Picture Post pioneered a completely new approach to the portrayal of British life, and in doing so helped to shape modern British photography.

PICTURE STORIES, is a new feature-length documentary, explores that revolution through the eyes of some of Britain’s leading documentary and street photographers, and through archive interviews with Picture Post photographers, writers and editors.

See more and download or buy here: https://picturestoriesfilm.com/

Separately, RRB Books is offering a run of Picture Post magazines from vol 1-29 (1938-1957) with each volume in in original case binding and each issue with original covers.  The asking price is £1250. Click here to see more. 

The Photographers’ Gallery presents a retrospective spanning fifty years of work by the landmark American street photographer, Helen Levitt (1913–2009). Taking place over two floors of the Gallery, this retrospective of more than 130 works will survey the full breadth of Levitt’s rich photographic practice, charting her journey from street reportage to documentary filmmaker and pioneer of colour photography.

One of the most influential street photographers of the 20th Century, Helen Levitt spent decades documenting local communities in her native New York, capturing everyday city life in neighbourhoods such as the Lower East Side, Bronx, and Spanish Harlem. Working from the 1930s through the 1990s, Levitt produced an extensive body of work consisting of a variety of projects and mediums, from photographs to artist books and was an early proponent of avant-garde filmmaking. From her early photographs of chalk drawings, to portraits of New York subway passengers and vivid colour photography, this retrospective brings together key works from across her lifetime.

After briefly working with a commercial portrait photographer, Levitt began to devote herself fully to photography in 1936. Inspired by a meeting with the photographer Henri Cartier-Bresson, she began to unobtrusively document the residents of her local neighborhoods with a 35mm Leica camera, rendering everyday scenes into a theatrical spectacle. Strongly influenced by surrealism and silent film, Levitt also explored the uncanny elements of the everyday, often capturing people in strange poses alongside surreal juxtapositions of people, places, and things. Although much of her work documented poor communities against a backdrop of depression or war, Levitt aimed to capture the poetics of everyday life rather than providing political or social commentary.

One of the early pioneers of colour street photography, Levitt was one of the first photographers to exhibit her colour work in 1974. In 1959 after receiving a Guggenheim grant to shoot the streets of New York City, Levitt visited many of
the same locations she had captured in the beginnings of her career, recreating these scenes in richly coloured dyet-ransfer prints. This exhibition presents a broad selection of Levitt’s colour photographs, showcasing the development of
a new pictorial language in her work.

Also showing as part of the exhibition is In the Street (1953), the experimental documentary Levitt made with filmmaker Janice Loeb and the writer James Agee which focused on street life in Spanish Harlem. The first of several film projects Levitt created, In the Street closely corresponds to her photographic work, providing a moving portrait of her still photography and is considered an essential forerunner of the cinéma vérité style emerging in the 1960s.

Whilst reportage of New York City remained at the heart of Levitt’s practice, this exhibition also displays photographs she made when visiting Mexico for several months in 1941. Her only body of work taken outside of New York, these images document the inhabitants of poorer neighborhoods in Mexico City, a place on the cusp of enormous social and economic change.

Helen Levitt: In The Street is curated by Walter Moser in collaboration with TPG’s Senior Curator, Anna Dannemann and co-produced by The Albertina Museum, Vienna and The Photographers' Gallery.

HELEN LEVITT: IN THE STREET
15 OCT 2021 – 13 FEB 2022
See: https://thephotographersgallery.org.uk/

Image: Helen Levitt New York, 1938 © Film Documents LLC Courtesy Galerie Thomas Zander, Cologne

The Bodleian Libraries has announced that, for the first time, a Curator of Photography will be appointed to care for and develop the libraries' growing photography collections, thanks to a transformational gift of £2 million from The Bern Schwartz Family Foundation. The endowment accompanies the Foundation's donation of the archive of renowned American portrait photographer and businessman, Bern Schwartz.

The Bern Schwartz Family Foundation, inspired by the talent for photography that businessman Bern Schwartz developed later in life, is generously supporting the Bodleian Libraries in advancing the appreciation, understanding, and study of photography by donating the archive and funding the curatorship, which will be known as The Bern and Ronny Schwartz Curator of Photography. 

The study of and research into photography is increasing in prominence at the University of Oxford, and this post will be key to bringing together different strands of the University for research collaborations with various faculties, museums within the University, other organisations in the city, and with the History of Art department under the leadership of Professor Geoffrey Batchen, whose work focuses on the history of photography.

Details of recruitment will be announced shortly. 

Read more here: https://www.bodleian.ox.ac.uk/article/bodleian-libraries-to-appoint-curator-of-photography-for-first-time