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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. 

  • Submissions are welcome from publishers, authors, collectives and individuals self-publishing their work
  • Books must be published between 1 January and 31 December 2024
  • Books must be published, distributed or available to buy (including online) in the UK

Winners receive a £5000 prize. Winning, short and longlisted books are featured in public displays and may be included in special events. There is no entry fee, and the submission process is easy and quick

Kraszna-Krausz Book Awards 2025 – Final Call For Entries
The deadline for entry of the submission form and digital files is 11.59pm on Friday 31 January 2025
Further details, terms and conditions, and the entry form for the 2025 Awards can be found here:
https://kraszna-krausz.org.uk/book-awards/

 

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13421879475?profile=RESIZE_400xThe Scottish Society for the History of Photography has just published the latest number of Studies in Photography (Winter 2024). As ever it includes range of articles from across photography's history up to the present day, alongside reviews and interviews. Photographers featured include Calum Colvin, Ian Phillips McLaren, Nan Goldin, Alexander Hamilton and Mike Weaver. There are interviews with with Rebecca Hicks of Purdey Hicks Gallery and Frank Mckenzie from the Jospeh McKenzie Archive. Reviews include the V&A's Fragile Beauty and Zelda Cheatle presents her curator's choice. 

Studies in Photography
The Scottish Society for the History of Photography
126 pages
ISSN 1462-0510
Details here: https://studiesinphotography.com/

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In passing: Mike Weaver (1937–2024)

13420530690?profile=RESIZE_400xBPH has just become aware of the passing of Mike Weaver on 24 June 2024. For many he will be remembered as the co-editor with his partner Anne Hammond between 1991 and 2000 of History of Photography. From 1978 to 1983, he worked as chairman of the Photography Advisory Group of the Arts Council of Great Britain, and was a photographer in his own right, although he would claim otherwise.

Amongst other titles, he authored The Photographic Art: Pictorial Traditions in Britain and America (London: Herbert Press, 1986) and The Art of Photography 1839-1989 (Yale, 1989), and edited British Photography in The Nineteenth Century: The Fine Art Tradition (CUP, 1989). His published works stretched from Talbot, Cameron and Coburn, to Strand and Mapplethorpe.

I was fortunate to hear several of his conference lectures. They were always interesting and often provocative, offering a distinctive perspective and reading the work of historical photographers. As Geoff Batchen notes: 'Mike Weaver was always a powerful presence in any gathering devoted to the study of photography: learned, single-minded and articulate (and sometimes also irascible) and determined to bring the focus back to pictures and their artistic capacities, where he thought it belonged.'

An obituary by Geoffrey Batchen was published on History of Photography website on 10 December 2024: https://www.tandfonline.com/doi/full/10.1080/03087298.2024.2417527?src=exp-la

Anne Hammond writes about Mike's own photography in 'Mike Weaver. The Eye of the Photo Critic' in Studies in Photography (Scottish Society for the History of Photography, Winter 2024, 122-123) 

A Polaroid portrait of Mike Weaver by Mark Haworth-Booth is in the NPG collection. See: https://www.npg.org.uk/collections/search/person/mp152263/mike-weaver

Image: © Mark Haworth-Booth. Mike Weaver, colour Polaroid print, 1978-1983. NPG Collection, London, given by Mark Haworth-Booth, 2005. NPG x199233. Reproduced with the photographer's permission. 

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13420486254?profile=RESIZE_180x180You will lead a large multidisciplinary customer facing department. At IWM Visual Resources deliver a museum-wide service for multimedia digitisation of our collections for access and preservation, as well as marketing photography and video for on brand events and marketing. These outputs form key aspects of the IWM’s: public, commercial, collections access, collections preservation, and learning programmes.

You will inform the strategic development of this service, maintenance of the Collections Digital and Digital Futures Strategies and delivery of its access and preservation digital outputs. You will be skilled in commissioning specialist advice from internationally recognised experts on digital access and preservation, your team and liaison with senior management to recommend and deliver strategic programmes of work (running over several years) from concept to completion.

The post holder is responsible for all elements of management of this team including staff, equipment and systems.

Note that members of the Creative team are located at IWM London, and the Digitisation team at IWM Duxford; you will be expected to travel in this role. This post will be based at Duxford.

Head of Visual Resources
IWM, based at Duxford
Closes 10 February 2025
Details here

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How did color get into photography? The exhibition True Colors - Color in Photography from 1849 to 1955 answers this question with outstanding works from the ALBERTINA Museum's photo collection. The desire for color in photography has dominated the world of photography from the very beginning. True Colors traces the development of color photography, from the first experimental techniques in the 19th century to generally applicable analog color photography.

Even in the early days of photography, daguerreotypes and salt paper prints were colored by hand to create colorful images. Monochrome pigment papers, which enjoyed great popularity until the 1890s, also contributed to the broad chromatic diversity of 19th century photographs.

The first successful color process, which was reserved for an exclusive circle, was introduced in 1891. The brilliant images in the so-called interference color process are based on the physical principle of standing waves, which also allows us to see colored reflections in soap bubbles. The unique pieces from the ALBERTINA Museum’s Collection represent a unique focal point.

The autochrome process, which was introduced in 1907, brought about a major change in image culture. It was also practicable for amateurs and helped its inventors, the Lumière brothers, to achieve great commercial success. However, it was mainly used as a glass slide for projection. At the same time, around 1900, fine art printing processes were developed that used color pigments to produce multicolored image solutions. They fulfilled the artistic aspirations of the Pictorialists and were commonplace in large photo studios until the 1930s. For a long time, the challenge was to obtain colored prints on paper. This was also achieved at the beginning of the 20th century with the use of various three-color processes, which were assembled in several steps.

Kodak finally achieved the breakthrough to easy-to-use and therefore mass-market color photography in 1936 with the first 35mm color slide films. These products revolutionized the use of colour photography in the following decades, which form the conclusion of this ALBERTINA Museum exhibition.

True Colors provides an insight into the rich holdings of the ALBERTINA Museum's photography collection, the historical part of which is based on the collection of the Höhere Graphische Bundes- Lehr- und Versuchsanstalt (GLV). The exhibition demonstrates the great public interest, the constant development and the various fields of application of historical photography in color. True Colors also explores the impact of popular color processes on the visual culture of the early 20th century.

Curatos: Dr. Anna Hanreich & Dr. Astrid Mahler

True Colors. Color in Photography from 1849 to 1955
24 January-21 April 2025
Vienna, Albertina Modern
See: https://www.albertina.at/en/albertina-modern/exhibitions/true-colors/

 Image: Anonymous | Laboratory still life, around 1906 | The ALBERTINA Museum, Vienna – Permanent Loan by Höhere Graphische Bundes-Lehr- und Versuchsanstalt © Photo: The ALBERTINA Museum, Vienna


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In passing: Barry Taylor (1938-2025)

13415469473?profile=RESIZE_400xBarry Taylor, who was managing director of Olympus Optical Co (UK) from 1977 until 1999, has died aged 87 years. During his career at Olympus Barry was behind a series of memorable advertising campaigns, the establishment of Olympus’s London photography galleries, and through Olympus supported photography more widely across Britain.  

In 1975 Japan’s Olympus Optical Company took over an existing distributor – David Williams (Cine Equipment) Ltd and from 1 July 1975 it became the first Japanese manufacturer to distribute its own range in the United Kingdom. Headhunted from Polaroid, Barry became interim managing director and was the first managing director of Olympus Optical Co (UK) Ltd – later Olympus Cameras – when it became the first wholly owned subsidiary of a Japanese parent company in 1977. The firm moved from Glasshouse Yard to the familiar Honduras Street address. For the next twenty-two years Olympus, under Taylor, put itself in the public consciousness through a series of popular television and press campaigns, and partnerships including the London Marathon in 1993 and JPS Lotus.

13415469490?profile=RESIZE_400xTaylor and Ian Dickens, his marketing director, established Olympus as the leading photographic brand in the UK. Part of this was down to a series of memorable TV campaigns from 1977-1991, the most famous being for the Olympus Trip camera and featuring David Bailey and a range of celebrities including Michael Elphick, Eric Idle and James Hunt. Bailey appeared in over ten television commercials, and the phrase “David Bailey? Who’s he?” still resonates amongst a certain generation.

In addition to Bailey, Olympus forged relationships with many of the leading photographers and photojournalists of the 1970s and 1980s. They included Terence Donovan, Terry Fincher, Duffy, Patrick Lichfield, Lord Snowdon, Lord Lichfield, Barry Lategan, John Swannell, Don McCullin, Jane Bown, Mirella Ricciardi, Eric Hosking, Don Morley, and Bob Carlos-Clarke. Celebrities such as Peter Sellers were also brought to promote the Olympus OM camera range.

13415469290?profile=RESIZE_400xIn many ways Olympus was ahead of its time when it established a photographic gallery, under the direction of Geoff Ash, in the colonnade next to London’s Ritz Hotel in 1979. The RPS’s Photographic Journal noted it brought a welcome addition to London’s limited gallery scene. It proved so popular that a larger gallery space in Princes Street, off Regent Street, London, under curator Martin Harrison, was opened in 1983 with the two spaces running concurrently for a period. Exhibitions had a five-year waiting list and featured the likes of Elliot Erwitt, Helmut Newton, Bruce Weber and Jacque Henri Lartigue. Today such brand-building spaces are more common.

Another project that Barry supported was the Olympus/Royal Photographic Society commemorative blue plaque scheme for photographers which was announced in 1995. Dickens notes: ‘Bailey had pushed English Heritage to put one of their plaques on the London house once owned by Roger Fenton and it eventually happened - the first for a photographer. We all agreed there should be many more, but the application process was very slow. As such, we came up with our own scheme in conjunction with the RPS. The plaques were blue and hexagonal in shape and we commissioned ten, each of which were unveiled by notable folk.

13415470289?profile=RESIZE_180x180The ten Olympus plaques commemorated: Julia Margaret Cameron, Henry Peach Robinson, Eadweard Muybridge, Samuel Bourne, James Craig Annan, Anna Atkins, Angus McBean, Lee Miller, Edward Chambré Hardman, and Alvin Langdon Coburn. Olympus, with Westminster City Council, supported a plaque for Terence Donovan in 1999. 

Olympus was also instrumental in saving Dimbola by purchasing the house when it looked like it would be demolished, and it remained committed to the project for many years. The house opened to the public in 1994. Olympus also supported various other causes including The Photographers’ Gallery appeal and the RPS’s National Centre of Photography appeal.

Barry was awarded a Royal Photographic Society Fenton medal and honorary membership in 1993 for his distinguished commitment to photography and the photographic industry. At the time of his award the British Journal of Photography’s (28 October 1993) Hector Crome commented ‘Olympus is fortunate indeed to posses such a charming, urbane and gracious gentleman to front its UK operations’

Dickens noted ‘working closely with Barry was a real privilege as the medium of photography was our focus’ and on the occasion of the Ritz gallery opening the RPS’s Journal noted that Olympus had ‘an almost unequalled record when it comes to supporting good photography’. Much of the credit for this belonged to Barry who recognised the wider value of supporting photography, building a brand and raising public awareness to grow sales.

He leaves a wife, Wendy, and three children to whom BPH sends its condolences.

Dr Michael Pritchard

POSTSCRIPT: Dr Brian Hinton MBE, Executive Chair, Julia Margaret Cameron Trust writes...

"I think it is only right to say that without Barry's support both personally and at Olympus the very existence of Dimbola as a flourishing museum and arts centre, with photography at its heart would not have been made certain. Barry was a wam and approachable man, while no one was in any doubt about his business acumen and drive. I could see the obvious affection and respect from the likes of Bailey, Lichfield, Lategan et al   He reassured a very shy Mary McCartney at Dimbola when we showed her Sadlers Wells project, and she blossomed in his presence.

We miss him dearly, both as a benefactor and a friend, and want to mark his life in some way in house, in a permanent way. 

The photographic world will not see his like again."

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

With thanks to Ian Dickens, former Olympus Cameras marketing director 1979-2000.
See nine of Olympus’s Bailey television advertisements here : https://www.youtube.com/watch?v=YnU91RWv8hkIm
Images: 
(Top:)  Barry Taylor, at the 1985 British Grand Prix at Silverstone. Olympus was the co-sponsor of the JPS Lotus team; (middle:) two examples of Olympus celebrity advertising from 1976 with Peter Sellers and Patrick, Lord Lichfield; (Lower:) Blue plaque CC Simon Harriyott.

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Research: Toxicity in stereocard mounts

13407478654?profile=RESIZE_400xA paper just published in Studies in Conservation by Kim Bell and Robin Canham of Queen's University Library, Canada, has analysed the card mounts of stereocards, based on a limited sample of North American cards recently donated to the library. Their analysis by X-ray fluorescence (XRF) spectroscopy has indicated the significant presence of different heavy metals in the mounts, reflecting the chemistry used to colour them. This should not be a particular surprise as Victorian wallpapers, book cloths, papers and textiles have long been recognised as problematic. Bell and Canham's research is the first time XRF has been applied to stereograph card mounts. 

It is worth quoting part of their conclusion: While this is an initial study, this research identified the significant presence of potentially harmful heavy metals, specifically arsenic-, lead-, and chromium- based pigments on nineteenth century stereograph cards and highlights the pervasive use of toxic substances in Victorian-era consumer goods. These findings extend our understanding of the historical usage of toxic pigments beyond popular previously recognized mediums such as wallpapers, textiles, and books, and demonstrates the prevalence of health hazards in historical collections. and, they add, it is imperative that GLAM [galleries, libraries, archives, and museums] workers know the inherent risks present in their collection materials to protect themselves and their communities.

Although Bell and Canham do not make any assessment of the direct risk to individuals handling cards, by being in proximity with stereograph card mounts, or the risk through inhalation or ingestion, this new knowledge should act as a prompt for collections to update their risk registers, and ensure that staff and visitors are properly attired, made aware of the risk with handling or storage, and that any risk is mitigated.

Toxicity in 3D: XRF Analysis for the Presence of Heavy Metals in a Historical Stereograph Collection at Queen’s University Library, Canada
Kim Bell and robin Canham
Studies in Conservation, published 14 January 2025, online, open access
Taylor and Francis
See: https://www.tandfonline.com/doi/full/10.1080/00393630.2025.2450976

Image:  The desktop setup of the Bruker III-SD pXRF with sample stage accessory on top. The stereograph card was placed on top of the sample stage with the edge of the card just covering the examination window. A sheet of Mylar® polyester film was placed on top of the stereograph to prevent abrasion. The accessory shield was placed on top of the film. Photo credit: Robin Canham.

With thanks to Rebecca Sharpe for drawing attention to the paper. 

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Photo Oxford has announced a series of alternative process workshops during March and April to explore the art of cyanotypes, anthotypes, phytograms, botanicograms, chemigrams, caffenol film development, pinhole cameras, photography as performance, and psychogeography. They include: 

  • Caffenol film processing with Melanie King
  • Photography, Drawing & the Magic Lantern with Alexander Mourant
  • Anthoptype with Nettie Edwards 
  • Exploring Air - Bodies in Space with Diego Ferrari
  • Phytography workshop with Dr Karel Doing
  • Botanicogram workshop with Megan Ringrose
  • Chemigram workshop with Sayako Sugawara
  • Psychogeography workshop with Sean Wyatt
  • Pinhole camera workshop with Ky Lewis
  • Cyanotype workshop with Lucy Kane

Full details of timings and costs are on the festival website: https://www.photooxford.org/workshops

Image: Ky Lewis

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A series of monthly blogs posts highlighting the rare photography material held in Leicester's De Montfort University's Special Collection has just started. DMU's Special Collections houses rare photography periodicals from Kodak Ltd's research library, the Robert F White collection of printed materials mainly relating to cameras and photographci technology, the Photographers' Gallery library, publications, books and auction catalogues from the Wilson Collection, and periodicals from Thomas Ganz, amongst many other items. All are accessible by appointment. 

The first blog by Professor Kelley Wilder (pictured above) showcases and discusses two photographically-illustrated books by Jessie and Charles Piazzi Smyth published in 1858, Teneriffe, An Astronomer's Experiment: or, Specialities of a Residence Above the Clouds London: Lovell Reeve 1858, and  Report on the Teneriffe Astronomical Experiement of 1856, London: Taylor and Francis, 1858. 

Read the blog here: https://library.dmu.ac.uk/archivesblog/home/PHRC-Takeover-1-Teneriffe-an-Astronomers-Experiment-by-Piazzi-Smyth-1858

Find out more about Special Collections access and holdings here: https://library.dmu.ac.uk/specialcollections

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In passing: John Blakemore (1936-2025)

13411606866?profile=RESIZE_710xJust received the sad news that my old friend and teaching colleague, the legendary John Blakemore died last night after a short illness. He had been taken into hospital in Derby over Christmas.

Born in Coventry in 1936, he was probably best known for his landscape work, but he had worked in many areas of the medium and was an inspirational teacher, mostly at Derby University. His work has been exhibited all over the world and he has had several acclaimed books published. He has been the recipient of Arts Council awards, a British Council Travelling Exhibition and in 1992 won the Fox Talbot Award for Photography. He was made an Honorary Fellow of the Royal Photographic Society in 1998.

There is so so much more I could say about JB, but that will come later. For now, our thoughts are with Rosalind, his stalwart partner, and his extended family and close friends.

Image: © Paul Hill / This is John leading one of our workshops at The Photographers Place in Derbyshire around 1980.
 
 
BPH adds: read more about John here: https://en.wikipedia.org/wiki/John_Blakemore John's archive is at the Library of Birmingham. see: https://www.birmingham.gov.uk/info/50140/photography/1415/john_blakemore/3
A fuller obituary will follow.
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13406396700?profile=RESIZE_400xA behind the scenes look at the creation of the Lee Miller Archives which today houses more than 60,000 negatives of Lee Miller’s work, 20,000 vintage prints, many manuscripts and ephemera.

Ami Bouhassane (Co-Director of the Lee Miller Archives and grand-daughter of Lee Miller and Roland Penrose) presents the story of how Lee Miller’s family came to conserve and disseminate her work, that of Roland Penrose and their home Farleys, which has become an artists house that is open to the public. To self fund the archive produces a constant stream of books, films, exhibitions and works with Farleys to open the house. In 1977, when Lee Miller died her photography work had been mostly forgotten, this presentation tracks the history of the archives, its knock backs and some of the major exhibitions created that brought Lee Miller's work back into the public eye, whilst at the same time enabling the conservation, administration and financing of the archive which is privately run and supports itself though revenue received from its activities.

This story is an attestation to the 47 years of hard work and determination to preserve and continue the legacy of Lee Miller, Roland Penrose and their home at Farleys.

The 45 minute zoom presentation will be followed by a Q&A with Ami.

Attic to Archives - the story of the Lee Miller Archives
29 January 2025 at 1830 (UTC)
Free, or  with a £10 donation

Details and booking here

Image: boxes of Lee Miller's work in the attic, Farleys House, Muddles Green by Antony Penrose.
© Lee Miller Archives, England 2020. All rights reserved. www.leemiller.co.uk

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This lecture addresses the application of cellulose acetate negatives in the world of photographs, focusing on their physical characteristics, historical significance, and deterioration. The discussion will cover its importance as support for photographic films throughout the 20th century, and the challenges associated with its conservation. The presentation will include the stripping method for conservation of acetate negatives, presenting two case studies of stripping treatment.

The speaker, Maria Júlia Costa is an emerging professional based in Rio de Janeiro, Brazil, and has a bachelor’s degree in Conservation and Restoration of Artwork from the Federal University of Rio de Janeiro (UFRJ). She is a master’s degree student in Preservação e Gestão do Patrimônio Cultural das Ciências e da Saúde at Casa de Oswaldo Cruz, Fiocruz, Brazil.

Conservation and Treatment of Acetate Negatives
Maria Júlia Costa
February 11, 2025, 7pm, Virtual via Zoom (UK: Feb 12, 2025 12:00 AM)
Registration: https://lnkd.in/eaKVE9cD

See: http://princetonpreservation.org/

Princeton Preservation Group
Presents a Lecture in the
Susan Swartzburg Memorial Lecture Series

Image: https://blog.nationalarchives.gov.uk/degradation-of-film-negatives-research-approaches-to-treatment-and-unsolved-issues/

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13405290901?profile=RESIZE_400xSince its foundation in 1971, Fotostiftung Schweiz has built up one of the most comprehensive and representative collections of Swiss photography – from the beginnings up until the present. It oversees numerous archives of nationally and internationally significant photographers, as well as selected photo archives from companies, organisations or private individuals with a connection to Switzerland.

The Image Archive Online of Fotostiftung Schweiz provides an insight into the already catalogued collection and archive holdings and introduces selected photographers. It shows a cross-section of Swiss photography’s entire history, from the beginnings of photography, c.1840, to the present day.  The Image Archive Online is constantly being updated with new objects and texts.

Around 37,700 digitized works can now be explored, free of charge, at https://fotostiftung.zetcom.net/en/.

Image: Jean Gaberell Bergheuet ob Mürren mit Blick gegen Eiger und Mönch, 1930er Jahre. Fotostiftung Schweiz, Winterthur

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Resource: Public Domain Image Archive

The Public Domain Image Archive (PDIA) — brought to you by The Public Domain Review (PDR) — is a curated collection of more than 10,000 out-of-copyright historical images, free for all to explore and reuse. Its aim is to offer a platform that will serve both as a practical resource and a place to simply wander — an ever-growing portal to discover more than 2000 years of visual culture.

A valuable image archive in its own right, offering hand-picked highlights from hundreds of galleries, libraries, archives, and museums, the PDIA also functions as a database of images featured in the PDR, offering an image-first approach to exploring the project’s content. The featured images each link to the relevant article on the PDR where one can read about the stories which surround the works. Visitors in search of more context will also find links back to the institutions where we found the image — from small college libraries to national repositories.

The list of participating institutions includes many with photograph collections, and include: the Briitsh Library, Paris Musées, Wellcome Collection, Metropolitan Museum of Art, the Getty, and Harry Ransom Centre, amongst many others. 

Search here: https://pdimagearchive.org/

Image: Beach Photographer, c.1890. National Science and Media Museum / Flickr: The Commons

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13404776285?profile=RESIZE_400xMachines, appliances, gizmos, and contraptions have always been a part of illustration, enabling illustrators to transform their thoughts into real-life forms. The machine’s abilities, aesthetics, and impacts on humanity have always been a source of inspiration and concern. With the discussion raging around artificial intelligence as a game-changing technology, and when computers seem to inextricably serve as parts of creation and of our lives, perhaps it is time to take stock and consider the long-established but fluctuating relationship between illustration and the machine.

From the industrial printing press (once considered the most advanced and disruptive technology) to a symbol of artisanal craftsmanship, from the camera obscura to drawing tablets, from the phenakistiscope to smartphones-within illustration, machines are not only an integral part of the process of creation but also, within reproduction and distribution, they have a defining role in actualising and professionalising the illustrator’s work. Throughout time, analogue and multimedia devices have offered new image–text relationships, bringing new modalities to illustration such as movement, touch and sound.

The digital has offered data visualisation; detailed, calculated modulation; and access to nano and macro worlds, expanding the illustrator’s visual language and scope. Self-made contraptions, and emergent technologies such as digital lenses and wearables open new avenues for innovative visual experiences. Illustrators, by applying their creative visual knowledge and participating in the innovation of scientific tools, have expanded the possibilities of machines. The long history of illustrating machines not only shows the art of technical drawing, but also our aesthetic fascination with them. All these developments show how the machine, celebrated as an advancing technology, has significantly expanded creative capabilities across both traditional and emerging media.
 
For the 15th International Research Symposium on Apparatus & Illustration, we invite papers and posters that demonstrate, expand upon, and discuss the question:
  • As the terrain of the apparatus expands, how does illustration define its relationship with the machine?
  • How have machines and their technologies empowered or undermined the illustrator?
  • How have machines enabled, defined or restricted new and exploratory creative processes and ways of thinking, in the past, present and future
  • Can a machine actually make illustrations?
  • What can we take away from machine-made illustrations?
  • Can a machine be an illustration?
  • Can illustration be a machine?

Possible topics may include, but are not limited, to the following:

Machine objects

  • Devices, gears, machines, technologies, contraptions and gizmos
  • Historical and contemporary apparatuses
  • Illustration machines
  • Illustration through machine
  • Emerging technologies and tools
  • Perception through machines
  • Machine eyes
  • Machines as illustration

Practice and discipline

  • Craft and craftsmanship
  • Mental apparatuses
  • Machine-aided illustration
  • Current and historical technical illustration practices
  • Representation of machines
  • Use of creativity in scientific visualization practices
  • Culturally located creative tool practices
  • Global illustration-machine cultures and practices

Ethics, philosophy and politics

  • Machines, creativity and ethics
  • Machine and creative ownership
  • Machine learning and artificial intelligence
  • The role and power of the machine
  • Impact of machine usage

Call for papers and posters
5th International Research Symposium. The Apparatus: The Role of Technology in Illustration
21–22 November 2025, Koç University, Istanbul
Call for papers deadline 20 March 2025
Full details: https://kuarc.ku.edu.tr/research-symposium/

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The National Science and Media Museum reopened to the public on Wednesday, 8 January 2025. This soft launch was followed by a full day of events and activities on Saturday, the 11th. The re-opening was timed to coincide with the offical launch of Bradford's year as UK City of Culture. 

13402750090?profile=RESIZE_400x13402758061?profile=RESIZE_400xThe reopening was partial in the sense that the two major new galleries Sound and Vision are still being installed and will open in the summer, most likely in June, in time for the last few weeks of the school year and the summer holidays.

On Saturday I was at the head of a fifty-plus strong queue of families and others waiting to enter the museum. There was a second queue at the Pictureville entrance. The animation-themed day celebrated the work of the Aardman studios with screenings of Wallace and Gromit films and activities based around animation. 

The revamped museum foyer is a more welcoming space. It is now less cluttered, with better visibility in to it from the outside, and with seating to encourage visitors to relax and linger. The visitor/ticketing desk is 'softer' than the previous desk and more inviting. The large media wall has gone. On the far side, to the right, is a quiet space, on the left a smaller retail space with more activity toys for children, some museum branded objects, and just a few books relating to the Hockney exhibition that opens on the 15th. The wider book offer of museum publications and general books on photography, film and television have gone. Beyond this is the café selling Costa coffee, snacks and meals. That is largely unchanged, and beyond that is the Pictureville cinema which had remained open for much of the museum's closure from June 2023. The IMAX cinema entrance remains accessible from the entrance foyer as before. 

13402750298?profile=RESIZE_400xAnd on to the galleries... The Kodak Gallery (-1 level) remains largely unchanged - or, at least, only with minor tweaks and changes.As before, the reflex camera obscura and Giroux camera greet visitors on entry. The Jabez Hogg/Beard studio recreation and original daguerreotype remain, but some of the early photographic equipment has been removed to accommodate the new lift (the cause of the delayed reopening). As one walks through the Kodak gallery the previous wet-plate studio space has been repurposed recreating Bradford's important Belle Vue studio. Engaging with local communities is a theme that will run through all the galleries. The Victorian parlour, darkroom and studio office remains. The main part of the gallery looking at Kodak cameras and popular photography remains much as it was, although the early three-colour cinematographic camera has gone. Circulating through the beach and pier 13402750495?profile=RESIZE_400xdisplays, salon photography and amateur cameras from the 1950s brings the visitor to the 1980s and on to the digital revolution. This remains the weakest part of the displays, mainly because it stops in the early 2000s and digital photography's cameras and the ways we share images have evolved significantly since then. The internet and digital displays previously in the foyer have not been brought back. 

Insight, the museum's research and visitor object handling and collections-access space, and the Kraszna-Krausz room are beyond and remain closed, at least until the new galleries open. 

13402751083?profile=RESIZE_400xMoving to the upper levels: level 1 retains the Cubby Broccoli cinema in which curators were showcasing the Sound and Vision galleries and showing off objects from the museum collections. Next to this is The Connection Engine (curiously missing from the museum signage, perhaps suggesting it is temporary?) which allows users to investigate Bradford's own history through an interactive screen. Alongside is a large digital display of objects that asks us to think about the future of history. The special exhibitions space remains closed for installation work.  

Level 2 houses the special exhibiton space that opens with David Hockney: Pieced Together exhibition from 15 January until 18 May 2025.

On level 3 is a renewed Wonderlab with interactive exhibits for children and adults to learn about sound, vision and science. This level will also house new Sound and Vision galleries in due course. Level 4 is Makespace, a space primarily for school groups to undertake practical activities which on Saturday visitors were using to make animation figures. Levels 5 and 6 remain closed for Sound and Vision and Power Up galleries, respectively.

13402753494?profile=RESIZE_400xSaturday was a lively day, helped by a brass band, screenings and activities around the museum spaces, including object handling experiences and the making ghost photographs. Over the next few months the museum has an engaging offer for families and visitors. Some areas will be familiar, others less so. Listening in to conversations from visitors, who were mainly local, they seemed pleased to see the familiar parts of the museum return and Wonderlab was very popular. There was clearly a lot of affection for the museum. The improved spaces, ground floor toilets, and especially the foyer mark a real improvement for visitors. Museum volunteers were also pleased to be back and engaging with visitors. 

13402755078?profile=RESIZE_400xMuch of the £6 million spend has been on parts of the museum building fabric that will be less obvious to the public: fixing roof leaks, fire and safety upgrades, new flooring, and that troublesome new lift. The Pictureville link to the main museum will need further work in due course as reinforced autoclaved aerated concrete (RAAC) was discovered during the closure and needs to be dealt with. For now the space has been made safe.

The two new galleries which visitors will see and engage with have yet to open, but based on the partial re-opening, they promise much. That said, when they do open they will draw attention to the need to update the Kodak Gallery which is well beyond its originally projected lifespan - although it remains popular and is object rich which visitors appreciate. 

13402754658?profile=RESIZE_400xThe introduction to the Sound and Vision galleries given by Head Curator Dr Charlotte Connelly on Saturday emphasised the new themes that will be behind the galleries (a short film will explain more). They will be worth waiting for. For the museum, embedded as part of the wider Science Museum Group it will be delivering on its remit of 'exploring the transformative impact of image and sound technologies on our lives', and engaging with local communities using local examples to do this.

See: https://www.scienceandmediamuseum.org.uk/

Sound and Vision project: https://www.scienceandmediamuseum.org.uk/about-us/sound-and-vision-project

All images: © Michael Pritchard. Views from the newly re-opened museum spaces (more are available) and a portrait of Jo Quinton-Tulloch, Museum Director. 

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Currently for sale on eBay is what the vendor believes may well be the earliest surviving piece of Daguerreian jewellery, a silver medallion, which measures c. 83 mm. x 63 mm. The images are the copyright of the vendor Robert Drapkin and are reproduced here with his kind permission.

According to the inscription the medallion was presented to Brother John Birch in open lodge on 22nd December 1840. It was intended “as a tribute of respect and to testify the high sense they entertain of his Musical Talent and Gentlemanly bearing”.

The photographer is not named, so who might it be? There are a couple of likely contenders, though other members may have additional suggestions.

The early date predates the opening of Beard’s studio at the Royal Polytechnic Institution in March 1841. It places the medallion in the period when the English patent rights were controlled by patent agent Miles Berry, and before he assigned them to Richard Beard in June / July 1841.

1840 was still an experimental period when improvements were being sought to the apparatus, lenses and the chemical process to reduce exposure times. Exposure times were initially measured in minutes, so most early daguerreotypes were landscape views, initially from abroad, however, by the summer of 1840 English views were being exhibited. The exhibition by Messrs Claudet and Houghton in November 1840 included London views as well as “portraits from nature and figures from the living model”. Although Antoine Claudet had obtained a licence to take daguerreotypes in England directly from Daguerre in 1839, in March 1840 he felt obliged to purchase a limited licence from Berry which allowed him to make and sell daguerreotypes. Claudet subsequently won the case that Beard brought against him.

It is also known that during the summer and autumn of 1840 Richard Beard and John Goddard were experimenting with a Wolcott mirror camera at Medical Hall, Holborn. Again Miles Berry threatened legal action and although they were using Wolcott’s ‘American camera and process’, Beard and Goddard paid Berry for the right to continue taking images. They were subsequently visited by a reporter from the Morning Chronicle who waxed lyrically about the sharpness of their portraits which had “a really astonishing appearance of life and reality”. Most of the portraits seen were the common size of miniatures, “while some were taken on plates not larger than a sixpence which are adapted for bracelets, lockets etc.”

The medallion records that John belonged to Lodge 19 of the Ancient Order of Druids which had been established in 1797. Their meetings were held in their Lodge Room at the Ram Inn, High Street, Uxbridge. A Brother Birch was one of those named in a report of their annual festival in April 1852, as was the host Brother William Trawley.

As to the man in the photograph, there seem to be a couple of options, depending on the perceived age of the sitter, 51 or 24. It looks like both men were members of AOD Lodge 19. So are we looking at John Birch (1789 – 1873) a tailor and draper, or his nephew John Trenly Birch (1816 – 1903). a Professor of Music, and the son of John’s younger brother William Henry? The musical connections suggest the latter, however, to me at least, the physiognomy suggests the former. Your thoughts and comments are welcomed.

 

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Workers Film and Photo League exhibition London

NOW FILMING explores the fascinating story of the Workers Film and Photo League (WFPL). The WFPL employed the camera as 'a weapon in the struggle' to represent working-class people’s lives and their campaigns against poverty, exploitation, and the rise of fascism. Bringing together newly discovered archival material, workers’ film newsreels, photographs and agitprop, this exhibition focuses on this unexplored moment of cultural resistance during the social conflicts of 1930s Britain.

The exhibition will also feature a series of short films, made by participants of the Workers Newsreel East End Stories project.

NOW FILMING. Art, Documentary and Resistance in 1930s East London
24 January-22 February 2025

London, Four Corners
https://fourcornersfilm.co.uk/whats-on/now-filming-art-documentary-and-resistance-in-1930s-east-london

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13397179886?profile=RESIZE_400xIn 2023 the Janette Rosing English photography collection was allocated to Historical England under the government's Acceptance in Lieu scheme. During the same year a collection of material relating to Julia Margaret Cameron was also hnadled by the reviewing committee and transferred to the Pallant House Gallery in Chichester. 

The 2024 report notes: A collection of 18 Modern British works, a group of eight prints and a book of photographs by Julia Margaret Cameron Julia Margaret Cameron (1815–79) was a pioneering female photographer in the 19th century and was particularly notable for her soft-focus close-up portraits of eminent Victorians. She only took up photography at the age of 48 after her daughter gave her a camera as a present.

The Hewat volume of eight albumen prints gives an indication of the range of Cameron’s subject matter and includes a portrait of the early photographer, mathematician and astronomer Sir John Herschel (1792–1871), as well as Pre-Raphaelite-inspired images of a number of Cameron’s friends. The collection of 20th-century British art put together by Anne (a direct descendant of Julia Margaret Cameron) and Angus Hewat focuses on such significant artists as the brothers Paul (1889–1946) and John Nash (1893–1977), Eileen Agar (1899–1991), Graham Sutherland (1903– 80), John Craxton (1922–2009) and the pioneering printmaker Cyril Power (1872–1951).

It will make a welcome addition to Pallant House’s outstanding holdings of this period. The Hewats were long-standing supporters of the Gallery and had assisted with the acquisition of the New Wing site which made possible the 2006 capital development of Pallant House.

The Panel considered the collection, accepted from the estate of Anne and Angus Hewat, pre-eminent under the first, second and third criteria. It has been permanently allocated to Pallant House Gallery, Chichester, in accordance with the condition attached to its offer.

The tax value was £316,890. 

The government's Acceptance in Lieu (AIL) Scheme and Cultural Gifts Scheme (CGS) enable UK museums, galleries, libraries and archives to acquire significant objects, in most cases at no cost to themselves. Managed by the Arts Council of England the 2023 report has just been published and there are two entries of particular interest to BPH readers. All applications and need to meet the Waverley pre-eminence criteria which is used in assessing objects offered under both schemes:

  1. Does the object have an especially close association with our history and national life?
  2. Is the object of especial artistic or art-historical interest?
  3. Is the object of especial importance for the study of some particular form of art, learning or history?
  4. Does the object have an especially close association with a particular historic setting?

See: https://www.artscouncil.org.uk/supporting-arts-museums-and-libraries/supporting-collections-and-cultural-property/acceptance-lieu/cultural-gifts-scheme-and-acceptance-lieu-annual-report-202324

Image: The Angel at the Tomb (Portrait of Mary Ann Hillier) by Julia Margaret Cameron. Photo: Courtesy Pallant House Gallery

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13397144875?profile=RESIZE_400xA collection of over 7,000 historical photographs of England compiled by Janette Rosing (1942–2021) has been transferred to Historic England under the government Acceptance in Lieu scheme. A previous tranche of Rosing's collection of Cornish photographs was passed to Kresen Kernow (Cornwall archives) under the same scheme in 2023.

The 2024 Cultural Gifts and Acceptance in Lieu Report notes: Janette Rosing, was historian and prominent collector, compiled this extensive survey of 19thcentury photographs over 50 years. Rosing’s research interests embraced the topographical history, built environment, social life and customs of England. The photographs were purchased individually or removed from albums and rearranged by Rosing. She made handwritten annotations on the reverses and borders of the prints that document her research and decisionmaking in building the collection. The collection includes many rare and early examples of different photographic processes, and features the work of such leading pioneer photographers as Francis Bedford, Linnaeus Tripe, Francis Frith and Frederick Scott Archer.

The Panel considered the archive, accepted from the estate of Miss Janette Rosing, preeminent under the first and third criteria. It has been permanently allocated to Historic England for its archives in Swindon in accordance with the condition attached to the offer.

The tax value was £21,536. 

The government's Acceptance in Lieu (AIL) Scheme and Cultural Gifts Scheme (CGS) enable UK museums, galleries, libraries and archives to acquire significant objects, in most cases at no cost to themselves. Managed by the Arts Council of England the 2023 report has just been published and there are two entries of particular interest to BPH readers. All applications and need to meet the Waverley pre-eminence criteria which is used in assessing objects offered under both schemes:

  1. Does the object have an especially close association with our history and national life?
  2. Is the object of especial artistic or art-historical interest?
  3. Is the object of especial importance for the study of some particular form of art, learning or history?
  4. Does the object have an especially close association with a particular historic setting?

See: https://www.artscouncil.org.uk/supporting-arts-museums-and-libraries/supporting-collections-and-cultural-property/acceptance-lieu/cultural-gifts-scheme-and-acceptance-lieu-annual-report-202324

Image: Photograph of Wisbech Hunstanton Hall by Samuel Smith. Photo: Courtesy of The Historic England Archive.

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