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The latest issue of the Science Museum Journal which has just been published includes several papers of photographic interest. Christine Ferguson looks at, Power at play in paranormal history.The contested object biography of the Cottingley Fairy artefacts in which she takes a fresh look at the Cottingley Fairies hoax;  Communities & Crowds: a toolkit for hybrid volunteering with cultural heritage collections makes use of the National Science and Media Museum collections to inform it with outcomes of a project partly based at the museum; and Elizabeth Edwards, Constanza Caraffa and Ruth Quinn are in conversation talking about photographic curatorship and photographic cultures in museums and research institutions.

The journal is free to access online here: https://journal.sciencemuseum.ac.uk/current-issues/

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The French Ministry of Culture has announced plans to celebrate the bicentenary of photography over 2026-2027. Mrs Rachida Dati, Minister of Culture, called for a great, popular and festive celebration of the bicentenary of photography throughout France, to honour the invention and photographic heritage for more than a year. A press conference in the spring will unveil the highlights and projects that will make the bicentenary of photography a unique event for everyone.

Frenchman Nicéphore Niépce took the first extant permanent photograph which is dated 1826-1827 and which marks his invention. The bicentenary is an unprecedented opportunity to celebrate photography. France has major photographic collections, major festivals and dedicated fairs and a large network of specialised venues and publishers that make it one of the most dynamic countries for photography on the international scene. The bicentenary will promote these collections and offer access to them, and photography more widely. 

To support the celebration, the Minister announced the creation of a scientific committee which will support the Ministry of Culture in defining the major scientific and artistic activities for the bicentenary. It will be led by Dominique de Font-Reaulx, an art historian specializing in the nineteenth century and photography, and a general curator at the Louvre Museum. The scientific committee is composed of recognised experts in photography and images: Eléonore Challine, Alexia Fabre Michel Poivert, Pierre Singaravelou, and Antonio Somaini. 

The committee will appraoch all those involved in photography, from the institutions supported by the Ministry of Culture, to professional networks and artistic venues, in order to bring this festival as close as possible to the public, and geographically across France. They will participate in the development and implementation of a very diverse programme: exhibitions, screenings, publications, meetings, etc. Exhibitions will contribute to enriching the way we look at the medium, in its heritage senses to the most experimental.

Among the highlights of the bicentenary:

  • a major exhibition-manifesto will mark the opening of the bicentenary in the autumn of 2026 at the Grand Palais, in partnership with the Centre Pompidou and the GrandPalaisRMN in order to promote the national photographic collections
  • a historical exhibition around the figure of Nicéphore Niépce will be shown at the Nicéphore Niépce museum in Chalon-sur-Saône, in collaboration with the Bibliothèque nationale de France
  • events will be offered throughout France with the support of Diagonal, a photographic production and distribution network
  • A call has been launched for a major national commission, Reinventing photography, led by the National Centre for Visual Arts. Fifteen photographers will be selected to carry out their projects, which will question the medium in all its dimensions, from its primitive times to the most contemporary experiments
  • further calls will be launched to professionals and the general public, in particular a national call for projects that will label events selected for their interest and their artistic, scientific or cultural contribution to the history and evolution of photography

Mrs. Rachida Dati, Minister of Culture, commented: 'Born in France two hundred years ago, photography is now part of our daily lives, especially that of young people. I call on all those involved in photography to imagine together a great popular and festive event, with all audiences, everywhere in France. From daguerreotypes to selfies, the bicentenary of photography is an invitation to celebrate the history of this major art in France through our unique collections, but also to show the diversity of the most contemporary creation'.

The scientific committee of the bicentenary of photography noted: "The celebration of the first photograph is a wonderful opportunity to retrace the major stages in the evolution of this art – from Niépce's heliography to digital images – to honour its creators, from 1826 to today, but also to bring us together around common and singular images. Photography has gradually become one of the most democratic artistic expressions. For two hundred years, it has been writing our common history.'

BPH will continue to follow developments as they are announced.

Image: enhanced image of Point de vue du Gras by Joseph Nicéphore Niépce. Harry Ransom Center, Gernsheim collection. Original plate c.1826/1827

 

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The Studies Gallery in Edinburgh will open the exhibition John Thomson in China on 29 January, bringing Thomson's photographs back to the city of his birth. A series of talks and an evening reception are being held on 10 February, including a walk through with curator Betty Yao. 

Thomson's birthplace in Brighton Street, Edinburgh, was commemorated in 2021 with a heritage plaque. See here

John Thomson in China
29 January-23 February 2025

Studies in Photography Gallery
6 William Street
Edinburgh
EH3 7NH
See: https://studiesinphotography.com/pages/welcome-to-6-william-street

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Join Mary Phan, V&A Curatorial Felllow in Photography, supported by The Bern Schwartz Family Foundation as she reveals some of the more quirkier nature images from the Royal Photographic Society collection (RPS). Featuring a cast of stuffed animals, intelligent and not so intelligent birds, incredible high-speed images of insects, a one-eyed owl photographer, and the ingenious exploits of the Kearton brothers, who would do anything to get that perfect shot.

The Royal Photographic Society was founded in 1853 with the objective of promoting the art and science of photography. It is one of the largest collections of British photographic history with 400,000 objects, including original prints, archival correspondences and records, cameras and other technical equipment.

See: https://www.youtube.com/watch?v=LAoa4Bn67U8

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Che Guevara is often written about as the "Argentinian revolutionary doctor." A physician from Argentina, Guevara joined the Cuban Revolution in the 1950s, arriving in Cuba in 1959 with a group of rebels from Mexico. However, little is said about his expertise as a photographer. Guevara was not only a seasoned personal photographer but also worked as a professional photojournalist for the Argentine agency Agencia Latina in 1955, covering the Pan-American Games in Mexico at the age of 27. At the time, he was also working as an allergist at the General Hospital of Mexico and lecturing at a Mexican university. That same year, Guevara met Fidel Castro and his group.

Pre-Cuban Revolution Photography

Guevara practiced photography extensively throughout his life, beginning in his youth with his father’s camera, which he kept by his side from then on. He photographed his family, friends, and various locations in Argentina. His work included street photography, portraits, and even self-portraits. During high school, Guevara founded a school newspaper in Argentina, publishing both his writings and photographs. He graduated with honors, leaving a lasting mark as the founder of the newspaper.

One of Guevara's most famous pre-revolutionary photography projects was documenting his 1952 motorcycle journey across Latin America with his friend Alberto Granado. This journey, which began in Buenos Aires and ended in Caracas, Venezuela, was the foundation of his Motorcycle Diaries, published in 1995, featuring photographs he took along the way. His camera and journal captured the struggles of impoverished farmers and indigenous communities in Latin America, deepening his sense of social injustice and shaping his revolutionary vision.

In 1955, Guevara signed a contract with Agencia Latina, covering events such as fencing matches at the Pan-American Games, where his fellow Argentine Raúl Martínez won gold. However, his involvement with Fidel Castro's revolutionary group that same year interrupted his photojournalism career. Despite this, Guevara continued personal and free-form photography.

Guevara's first paid photography job was after arriving in Mexico in 1954, where he struggled to find work as a doctor. He bought a camera and darkroom equipment, taking photos of families and couples in parks and personally delivering their prints. Eventually, he secured a position as an allergist at the General Hospital and a contract with Agencia Latina.

Photography During the Revolution

Guevara’s passion for photography endured during the Cuban Revolution. His camera accompanied him alongside his rifle, as he believed in the historical importance of documenting revolutionary and social movements. While there is speculation he took photos aboard the Granma, the yacht that brought the revolutionaries to Cuba, no such images have surfaced.

Guevara photographed Cuban peasants, indigenous communities, and his fellow revolutionaries. He often used a timer to take group photos, displaying technical and artistic intent beyond mere chance. Although his revolutionary duties as a leader and medic limited his ability to photograph extensively, a significant collection of his photos from this period remains. His son, Camilo, published some of these images through the Che Guevara Studies Center in Havana, including them in traveling exhibitions.

Post-Revolution Photography

After the Cuban Revolution’s success, Guevara held government positions, such as Minister of the Economy and President of the National Bank. Yet he prioritized establishing a media apparatus to support the revolution and counter U.S. propaganda. He proposed and helped establish Prensa Latina, a news agency, appointing Argentine journalist Jorge Masetti to implement the vision.

Personally, Guevara continued photography, capturing images during state visits and diplomatic trips. Despite his official duties, he found time to document cities and events on the sidelines of meetings and celebrations.

In 1965, Guevara left his official roles and Cuban citizenship to pursue his global revolutionary aspirations. He traveled to Congo to support pro-Lumumba forces, capturing numerous photographs during this campaign. Though some of these images were published, others remain unseen.

Guevara later returned secretly to Cuba before heading to Bolivia in disguise to lead another revolutionary effort. Upon his capture in Bolivia, authorities found approximately 12 undeveloped film rolls among his belongings. These rolls, documenting the Bolivian revolution, were confiscated and have not resurfaced.

Che Guevara’s Visual Legacy

Guevara's photography reveals a multi-faceted individual with a sharp awareness of the power of images to document, inspire, and bear witness. From his early days in Argentina to his revolutionary campaigns, his camera served as a tool for visual storytelling, capturing moments of personal and historical significance that continue to resonate today.

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer

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Fast Forward: Women in Photography together with University of Nicolaus Copernicus in Toruń announces the Polish edition of the Fast Forward conference Beyond The Canon, which is organized in partnership with Vintage Photo Festival.

The research project Fast Forward: Women in Photography aims to explore the work and histories of women photographers, promote opportunities and question ideas dominating the field of photography by initiating thoughtful, new debates. Initiated in 2014 with a panel discussion at Tate Modern, the project has become significant within the world of photography for examining the work of women photographers and for questioning the way that the established canons have been formed. 

The sixth Fast Forward conference that will take place in Toruń, Poland explores the (hi)stories of women in photography with a particular reference to how women’s work is curated, exhibited and collected by museums, institutions, festivals, galleries and individuals. We are interested in the curators, the collectors and the photographers and through this inspiring conference intend to make a unique contribution to the study of women in the field of art by looking in detail about how exhibiting and collecting photography works. 

For years photography was considered as a mediocre medium by the art world, its museums and galleries. Towards the mid 1990s the position of photography in the art world started to change and today it has become the “hot topic” of the global art field with works being exhibited, bought and sold at the highest prices and shown in the most revered exhibition spaces. What place has women’s photographic work taken in this booming business? How have women provoked new discourses concerning the limitations/problems of the canon? How have women been exhibited, collected and conserved?

You are invited to submit a 500-word abstract to apply to make a presentation at the conference. Questions of interest include but are not limited to:

>> How do institution / museum collections address the equal representation of women and non-binary people? What challenges and experiences they face in this process?

>> What are the new ways to preserve and archive the women’s work in photography?

>> What can we do about the glass ceiling in the art marketplace and what effects does this market have on institutions? 

>> What collaborative methods are being used or have been used between individuals and institutions for making a real change?

>> Throughout histories and including the present how have women collected, make visible, and valuable other women? How do we measure the impact of women curators and collectors in shaping the narrative of photographic history?

>> How digital technology and online tolls support the processes of visibility and preservation of women’s photographic work?

We invite submissions that investigate artistic research, curatorial and collaborative methodologies, conservation and archival concerns, as well as new theoretical and practical discussion around women’s work in photographic field. We welcome abstracts from a range of scholars, researchers, curators, archivists, and cultural producers working in and around the above mentioned areas, in different continents and at different stages of their career. 

The conference will include exhibition and collection visits over a three-day period including two-day conference held at the Faculty of Fine Arts Nicolaus Copernicus University Toruń, Poland and one day visiting the exhibitions of the Vintage Photo Festival held in Bydgoszcz, Poland. We will also visit the conservation centre of the Nicolaus Copernicus University.

Beyond The Canon: exhibiting, curating and collecting photography by women
10-12 October 2025
Faculty of Fine Arts, University of Nicolaus Copernicus in Toruń, Poland
cfp deadline: 227 January 2025

Details: https://fastforward.photography/our-projects/cfp-fast-forward-conference-6-in-poland-october-2025/

Image: Janina Gardzielewska awaiting the opening of the Nicolaus Copernicus House Museum, Toruń, June 1, 1960, a photograph from the family album of Janina and Zygfryd Gardzielewski, from the collection of the University Library in Toruń

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13390079099?profile=RESIZE_400x'The sun never sets on the British Empire' was more than a celebratory assertion of the vastness of colonial dominion; it embodied the ideological underpinnings of the British imperial project. Central to this ideology was the interplay between the symbolic and material constructs of 'light' and 'darkness,' through which the empire represented itself as an 'empire of light.' This framing, grounded in epistemological and symbolic discourses, positioned the British as agents of enlightenment tasked with dispelling the metaphorical 'darkness' of regions perceived as less developed, thereby legitimising the so-called ‘civilising mission’ (Dinkar 2020). Such narratives extended beyond abstraction, significantly shaping the physical and cultural landscapes of the colonies.

Within this binary of light and darkness, the colonial night emerges as a critical site of imperial meaning-making. Engrained in negative connotations and framed as a space “beyond our reach” (Phillips, 2023), the colonial night became deeply entwined with notions of eeriness, filth, and degeneration. These associations were often reinforced through the lenses of tropicalism and orientalism, which permeated colonial travelogues and literary accounts (Baker, 2015). Additionally, the night metaphorically served to construct racial ideologies, symbolising an unconscious darkness that underpinned imperialist perceptions of racial and cultural inferiority (Goggin, 2024).

The antithetical relationship between light and darkness also translated into the strategic implementation of illumination and electrification across the British Empire, particularly in colonial urban centres. The introduction of lighting played a pivotal role in colonial governance, symbolising the imposition of ‘modernity’ and the technological advancement associated with imperial control. By dispelling the obscurity of night and transforming public spaces into illuminated, surveillable environments, colonial authorities reinforced their dominance and sought to showcase the supposed benevolence and progressiveness of the imperial mission (Hasenöhrl, 2018; Schivelbusch,1995).

Building on this multifaceted context, this two-day conference seeks to deepen the emerging yet underexplored discourse on the visual construction of the night within the British colonies, spanning the late 19th to the mid-20th century – a period marking the height of imperial domination and the gradual processes of decolonisation. The conference invites critical engagement with the ways in which visual culture contributed to constructing and entrenching imperialist narratives about the colonial night, particularly through the symbolic and material dichotomy of light and darkness, while also examining how these frameworks were resisted, contested, and reimagined.

Based on the themes outlined above, key questions for exploration include:

  • How were conceptions of night and nocturnality – and, by extension, light and darkness – visually constructed within the ideological frameworks of the British Empire?
  • In what ways did colonial subjects engage with, subvert, or reconfigure these visual narratives?
  • Furthermore, how might indigenous conceptions of nocturnality have been creatively employed to disrupt imperial discourses and assert alternative visual epistemologies?

While contributions focusing on the impact of photography on these narrations are particularly welcome, submissions addressing a broad spectrum of visual practices – including painting, illustration, advertising, posters, and beyond – are encouraged.

Potential themes for investigation could include, but are not limited to:

  • The industrialisation of light and the modernity project in the British colonies
  • The colonial night as a space of danger, vulnerability, and marginality
  • The night as a site of othering
  • Propagandistic constructions of gendered and racialised narratives of the colonial night
  • Urban nocturnal public life and night entertainment in the colonies
  • Nocturnal labour and productivity in colonial economies
  • Nighttime journeys, exploration, and the exoticisation of nocturnal colonial landscapes
  • Chiaroscuro and nocturne motifs (e.g., moonlit nightscape paintings)
  • Domestic, institutional, and symbolic illuminated and unlit interiors
  • The night as a time for indigenous spiritual practices, dreams, or supernatural encounters
  • The night as a time for contestation and resistance
  • Indigenous conceptions of light and darkness

Light and Darkness: Imaging the Night in the British Empire
Oxford Brookes University, Oxford, 26–27 June 2025
Deadline: 15 February 2025

Please submit a 300-word abstract and a 100-word biography to Manila Castoro at mcastoro@brookes.ac.uk by 15 February 2025. Contributions from diverse academic and geographic contexts are especially welcome. In your submission, kindly indicate whether you would attend in person or online, as hybrid panels will be available to facilitate participation from underrepresented regions.

Selected papers from the conference will be considered for inclusion in an edited volume with a respected academic journal or publisher.

 

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13386666893?profile=RESIZE_400xThe Association of Historians of Nineteenth Century Art (AHNCA) is hosting two virtual salons, one on 17 January 17 and the other on 24 January to learn more about books published in 2024 by AHNCA members. Each author will give a brief presentation about their book, followed by a discussion among the authors and a Q&A with the audience.

of particualr note is the salon taking place on 24 January which will include Jeff Rosen who will be discussing his book Julia Margaret Cameron: The Colonial Shadows of Victorian Photography. The full programme is: 

Ruth E. Iskin, Mary Cassatt between Paris and New York: The Making of a Transatlantic Legacy
Sarah Lewis, The Unseen Truth: When Race Changed Sight in America
Kimberly A. Orcutt, The American Art-Union: Utopia and Skepticism in the Antebellum Era
Jeff Rosen, Julia Margaret Cameron: The Colonial Shadows of Victorian Photography

Julia Margaret Cameron: The Colonial Shadows of Victorian Photography
Paul mellon Centre for Srtudies in British Art
ISBN: 9781913107420
292 pages
Rosen examines how Cameron and her family processed news of the rebellion alongside former colonists and government officials, men such as Sir John Herschel, Lord Lansdowne, Thomas Babington Macaulay, and her husband, Charles Cameron. He also demonstrates how Cameron's artistic choices were inspired by the fine art criticism associated with the Arundel Society and the South Kensington Museum. In the process, Rosen analyses the symbolism in Cameron's portraits, the political codes in her imagery of widows and orphans, and the historical narratives that informed her allegories of the revolt and its aftermath.

Attendance for the Salon is free but registration in required.

Virtual Salon
24 January 2025 at 1400 (EST) | 1900 (UTC) | 2000 (CET)
Register at: https://us06web.zoom.us/meeting/register/tZIlf-ihrDsuEtf3pWA02hVoYI5MJ22Vx45

 

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How can creative practices disrupt power structures within the archive? In March 2025, Autograph and Parse Journal will host a new symposium Encounters: Art, Power and Archives in London to discuss strategies and methodologies to rethink, reimagine and reshape the histories embedded in archival collections.

We are calling for presentations that examine how reactivating archival materials through diverse perspectives and disciplines can challenge dominant narratives. With a focus on decolonial and queer methodologies, the symposium will emphasise approaches that encourage a continual reengagement with archives.

We are looking for a broad range of interdisciplinary voices to present their work. This could include – but is not limited to – proposals that share artistic or scholarly research, creative or social projects, and provocations. You might be a historian, archivist, researcher, educator or artist: or any mix of disciplines. Submissions are encouraged by contributors from all backgrounds.

Encounters: Art, Power and Archives will take place on 18 March 2025 in London.

https://autograph.org.uk/blog/news/call-for-papers-encounters-in-the-archive/

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13381890870?profile=RESIZE_400xThe Paul Mellon Centre for British Art has awarded grants for a number of photography projects. These include: 

  • Sara Stevenson for the publication The Two-way Gaze. David Octavius Hill and Robert Adamson’s Fishermen and Women of the Firth of Forth (author grant - large)
  • Whitechapel Gallery for the publication Joy Gregory: Catching Flies with Honey (Exhibition publication grant)
  • Lucy Howie for research on the project Franki Raffles and Sandra George: Disability and Community Photography in 1980s Scotland (Research support grant)
  • Aindreas Scholz for research on the project Rediscovering Anna Atkins: Illuminating the Forgotten Female Pioneer of British Photography (Research support grant)

See: https://www.paul-mellon-centre.ac.uk/grants-and-fellowships/awarded/autumn-2024/page/1

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Photographers on film / Spring 2025

Spring 2025 sees three films looking at photographers and their work. First up is I am Martin Parr which is in cinemas from 21 February. Since the 1970s, British documentary photographer Martin Parr has fearlessly held out his unique photographic mirror and given us some of the most iconic images of the past century. Through an intimate and exclusive road trip across England with the artist, director Lee Shulman (The Anonymous Project) uncovers the life of Magnum photographer Parr: an ironic chronicler of British kitsch, a fierce critic of consumerism, and a narrator of stories suspended between comedy and tragedy. Compiled from exclusive archival footage alongside interviews from various individuals in Martin’s life - close family, fellow photographers, artists and filmmakers, from artist Grayson Perry to musician Mark Bedford (Madness). The film offers a portrait of an extraordinary photographer who revolutionised contemporary photography by inventing a political, humanist and accessible photographic language.

Ernest Cole: Lost and Found is released on 7 March. Winner of the L'Œil d'or for Best Documentary Film at Cannes Film Festival 2024, Ernest Cole: Lost and Found is directed by celebrated filmmaker Raoul Peck, best known for his BAFTA-winning and Academy Award-nominated film I Am Not Your Negro (2016). Narrated by Academy Award nominee LaKeith Stanfield, it documents the life of Ernest Cole (1940–1990), the South African photographer whose groundbreaking work exposed the horrors of Apartheid-era South Africa to a world audience. The film recounts Cole’s wanderings, his turmoil as an artist and his anger, on a daily basis, at the silence and complicity of the Western world in the face of the horrors of the Apartheid regime. Through his photographs, writings, and audio from the expanded Cole archive, Ernest Cole: Lost and Found paints an intimate portrait of a remarkable photographer who is finally getting his dues.

Finally, on 21 March is Two Strangers Trying Not To Kill Each Other. Nominated for two British Independent Film Awards (BIFAs), the film is the story of artist couple Joel Meyerowitz and Maggie Barrett. Meyerowitz (84) is a world-renowned photographer. British-born Barrett (75) is a talented but less recognised artist and writer. Thirty years after a chance encounter, Maggie and Joel are still very much in love. But there is a knot of unease in their relationship, which is further strained when Maggie falls and breaks her leg and Joel becomes her caregiver. In the shadow of mortality, each with a long and dramatic life behind them, the hard truths of life together provoke in Maggie and Joel an attempt to find a shared inner-peace while there is still time. With unique access to the couple’s lives, directors Jacob Perlmutter and Manon Ouimet have created a profoundly moving film about living, creating and loving. 

A trailer for I am Martin Parr is available here: TRAILER

More details or to arrange a screening see here: https://releasing.dogwoof.com/

 

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A new book looks at the history of polar exploration. Of particular note to BPH readers are a number of chapters of photographic interest which show and discuss the Goodsir daguerreotype and Adamson calotype of him, Challenger expedition icebergs, an early Beechey Island image, the Franklin daguerreotypes, Antarctic stereoviews, a pre-1900 Antarctica photo, and Ponting's kinematograph, although historic photography features throughout. The book has been researched and written by Anne Strathie who will be known to BPH readers through her recent biography of Herbert Ponting. 

A History of Polar Exploration in 50 Objects. From Cook’s Circumnavigations to the Aviation Age
Anne Strathie
£22.00

The History Press, 2024
https://thehistorypress.co.uk/publication/a-history-of-polar-exploration-in-50-objects/

 

 

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50th Anniversaries in 2025

This year - 2025 - marks the fiftieth anniversary of two significant British photography institutions. 2025 marks Four Corners’ 50th anniversary. A programme of events and exhibitions looking into its radical heritage and looking forward to its future. The year also marks fifty years since the Fox Talbot Musuem opened in Lacock on 28 June 1975.The Museum will be hosting an exhibition from May of the little known colour photography of Werner Bischof and has exciting plans for the museum and gardens. A short history is in preparation. 

Separately to British photography, 2025 sees the centenary of the launch of the Leica camera in spring 1925. Leica will, no doubt, be commemorating this significant anniversary in Wetlzar and across the world.   

If you know if other significant anniversaries please comment below. 

Image: the Fox Talbot Museum from the Museum's Newsletter (Summer 1977, No.1)

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13381757880?profile=RESIZE_400xThe photographer Sirkka-Liisa Konttinen received an Member of the British Empire (MBE) for services to photography in the New Year's Honours announced earlier this week. She was also recognised with a Royal Photographic Society Honorary Fellowship in November. 

Sirkka-Liisa Konttinen has worked in Britain since the 1960s. Born in Finland, Konttinen moved to London to study film in the late 1960s at the Regent Street Polytechnic. In 1968, she co-founded the Amber Film and Photography Collective, which moved to Newcastle in 1969. Konttinen’s series Byker (1969–1983) and Writing in the Sand (1978–1998) document the devastating impact of Newcastle’s East End redevelopment on the local community alongside the moments of joy and escapism that the beaches of Whitley Bay and Tynemouth provided. In 1980 Konttinen became the first photographer since the Cultural Revolution to have her work exhibited by the British Council in China. Her next project Step by Step, was a study of girls and their mothers at a dance school in North Shields, and their later lives after leaving the school. This series became a heavy influence in Lee Hall's development and writing for his play Dancer, which later became the cult coming-of-age film Billy Elliot. Her other long-term projects include Byker Revisited and The Coal Coast plus related films.

Sirkka-Liisa Konttinen's work is in numerous collections and, she has been seen in a number of recent exhibtiions in Britain, Europe and the United States in recent years. She is included in Tate's The 1980s on show until 5 May.  She continues to work and her earlier projects are rightly recognised as seminal and significant documentary photography. 

Sirkka-Liisa ROBERTS (Sirkka-Liisa Konttinen) Photographer. For services to Photography (North Shields, Tyne and Wear)

Sirkka-Liisa Konttinen MBE HonFRPS

See: https://www.gov.uk/government/publications/new-year-honours-list-2025 and https://rps.org/about/awards/the-rps-awards-2024/rps-awards-2024-recipients/

Image: Portrait of Sirkka-Liisa Konttinen by Liz Hingley

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The history of humanity has its stories, and the faces of people reveal a hidden expression captured in the stillness of a photograph—a human art that seizes fleeting moments and immortalizes them with all their intricate details, emotions, facial expressions, and even the gazes that reflect the human spirit. These elements often bear the cultural, psychological, and certainly ethnographic traits of individuals. Photography, as an art form, has rendered the still image and its transient moments as a precise representation of human identity, along with cultural and racial compositions in their authentic contexts.

The camera has made its way into many scientific fields as a documentary tool, enhancing the precision of recording and preserving visual data for field and laboratory research. Its use has reduced research costs by saving time, replacing the labor-intensive sketches that anthropologists once used to document tribal members, their unique cultural and genetic traits, lifestyles such as hunting and farming, their tools, social behaviors, and jewelry. Additionally, the camera has been used to document discovered remains, burial sites, and associated funerary and ritualistic artifacts.

In this form of photographic documentation, utilizing the camera to capture cultural identities—reflecting their structural characteristics within their natural, social, and ideological surroundings—adds a profound humanistic knowledge to the aesthetic depth of the image. This is clearly evident in the work of French anthropologist and structuralism pioneer Claude Lévi-Strauss. In his photographs, Lévi-Strauss focused on faces and their distinguishing features, which reflect their ethnographic and cultural identities. These images served as both artistic and documentary tools within the context of his anthropological research on tribal peoples across various regions of the world.

Lévi-Strauss captured diverse photographs of tribal individuals, including general documentation of tribes in their villages and homes, as well as close-ups highlighting faces when necessary to document tribal jewelry and tattoos that signify social status, as well as the genetic structures of tribal members’ features.

Despite the unparalleled accuracy in documenting humanity achieved in Lévi-Strauss's structural anthropological studies, particularly during his fieldwork among remote tribes in Mato Grosso and southern Amazonia in Brazil, which culminated in his photographic book Saudades do Brasil: A Photographic Memoir, Lévi-Strauss expressed a surprisingly critical view of the camera as a scientific research tool. In one of his academic articles, he stated, “With all this advanced technology, the camera remains a dry and coarse tool compared to the human mind and hand.” This opinion is startling and seemingly contradictory, coming from a scholar whose field achievements were significantly enhanced by photography, and whose sensitive and refined mastery of the camera produced historically significant, scientifically accurate images of tribes such as the Caduveo, Bororo, and Nambikwara, among others. These images can also be evaluated as artistic photographic accomplishments, independent of the scientific purposes they were originally captured for.

In his famous saying, French photographer Jacques Henri Lartigue described photography as “capturing the fleeting moment that represents truth.” While simple on the surface, this statement may well serve as the ideal definition of photography’s uses and significance, whether in artistic or scientific fields. In light of this, Lévi-Strauss's critique of the camera's role in anthropological fieldwork can be challenged. However, it is also fair to acknowledge an aspect of Lévi-Strauss's view, driven by his advocacy for human sensory and intellectual skills over dependence on machines. This aligns with his broader structuralist philosophy, emphasizing the primacy of the human mind and sensory abilities as the cornerstone of scientific inquiry, surpassing technological and industrial advancements.

With technological advancements, there has been a decline in human sensory and intellectual skills, such as memory strength and thinking mechanisms, as well as other manual and sensory abilities. Studies have shown, for instance, that the decline in human computational skills correlates with the invention of calculators, as humans have relied on machines to store numerical data, analyze relationships, and provide solutions, thereby reducing their ability to perform these tasks themselves. This observation extends to various professions, industries, and human skills.

Could Lévi-Strauss's reservations about the camera’s use in fieldwork stem from such concerns about the impact of technological advancements on human sensory and intellectual skills in anthropological research? Perhaps so. While his apprehensions may have their justification, they appear somewhat exaggerated.

In his article titled “Lévi-Strauss’s Photographs: The Anthropology of the Tangible Body,” Marcelo Fiorini, an American professor of anthropology at Hofstra University, critically analyzed Lévi-Strauss's ambivalent relationship with photographic images in his scientific studies of tribes. Fiorini, who firmly endorsed the importance of cameras in anthropological fieldwork, deconstructed Lévi-Strauss’s views on his photographs and their role as a research tool. He noted that Lévi-Strauss was reserved about his photographs, rarely writing about them and presenting them primarily as ethnographic documents, to be used as secondary material for cultural analysis. Fiorini argued that documenting tribal people in their environments through photography unintentionally became the central element in Lévi-Strauss's research on the rituals of life, death, and funerals among Amazonian tribes in Brazil. This was despite Lévi-Strauss's efforts to downplay the importance of photography, either by ignoring it in his writings or by undervaluing it compared to the human mind and hand as superior research tools.

Regardless of the motivations behind Lévi-Strauss’s perspective, what remains crucial is the invaluable photographic archive he left for the artistic and academic worlds. Comprising tens of thousands of remarkable images, this archive is a treasure trove that has paved the way for anthropologists to continue his fieldwork. Photography will remain a cornerstone and a fascinating scientific documentary tool in anthropological research, alongside the human mind and hand.

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer

 
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13381753889?profile=RESIZE_400xNow available in paperback. This book offers an analysis of the socio-historical conditions of the rise of postwar Italian photography, considers its practices, and outlines its destiny. Antonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image.

This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.

 

To purchase it : Italian Neorealist Photography: Its Legacy and Aftermath - 1st Edition 

If you wish to write a review of it to be published on a photography magazine/ journal or a photo blog do write to: info@antonellarusso.it  to get a free complementary copy

visit:

https://youtu.be/FVQX-ix3o_E?si=jhKfafURxyayKprA

https://youtu.be/FVQX-ix3o_E?si=Pyvn5Vgz2BjAq3g1

Italian Neorealist PhotographyIts Legacy and Aftermath
Antonella Russo
Routledge, £31.99

https://www.routledge.com/Italian-Neorealist-Photography-Its-Legacy-and-Aftermath/Russo/p/book/9781032180403

 

 

 

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The recent win of the photograph "Hope for a New Life" by Australian photographer Warren Richardson (48), currently based in Hungary, as Photo of the Year in the World Press Photo competition, marked a return to the simplicity and traditional (classic) style of photography, free from the obsession with digital retouching that often distances images from their raw reality. This win also reaffirmed the importance of a core element of photojournalism: serving its functional, informational purpose, even if other elements, such as ideal lighting, clarity, or stability, are missing.

Despite its significant blurriness, graininess, and shakiness—caused by using high ISO and a slow shutter speed to capture as much light as possible in the dimly lit scene—the photo emerged as the most successful, earning its prestigious title among thousands of entries from photographers worldwide.

Some may consider these aspects technical and artistic flaws when judged by narrow and superficial criteria, such as those often applied in Arab competitions. Yet the photo’s success can be attributed to several factors, foremost its rarity. Richardson was the only photographer present at that moment to document a hidden and unannounced event: a Syrian refugee father smuggling his infant through barbed wire between Hungary and Serbia.

Another reason for its success lies in the challenge of capturing this image at 3 a.m. without any artificial lighting. Richardson relied solely on moonlight to illuminate the scene. When viewed, the image initially appears like poorly printed black ink on paper, resembling a badly reproduced photocopy. Yet the unique circumstances of its creation shaped its raw aesthetic. Richardson explained, "I had to take the photo without electronic lighting to avoid alerting Hungarian and Serbian border guards to the refugees’ crossing point through the barbed wire. My only option was to rely on moonlight."

The image evokes profound questions in the viewer, fueled by its depth and mystery, alongside its rich visual elements. What was initially a technical necessity—forced by unfavorable conditions—transformed into visual and artistic features: the prominence of barbed wire in the darkness, the blurred human figures, the baby lying perfectly still as if chosen for the moment to prevent discovery, and the father’s face, reflecting anxiety and fear in the shadows, as his hands reach out to pass the child.

While not the first time that similarly composed journalistic photos have captured global attention, Richardson’s photo leaves a lasting impression on the photography world. Upon seeing this 2015 award-winning image, one is reminded of iconic photographs, such as Hungarian photojournalist Robert Capa’s coverage of the Allies’ landing on Normandy beaches during World War II in 1944. Capa’s photos, taken under difficult conditions from nighttime into dawn, similarly carried technical imperfections like blurring and instability, yet remain among the most significant photojournalistic images in history.

Dubbed "The Magnificent Eleven," Capa’s photographs were rare and impactful, taken under extreme circumstances as he was the sole photographer on the Normandy beach during the initial assault. Miraculously, they survived a lab mishap in London that nearly destroyed all negatives. Out of the ruined roll of film, only these 11 photos were salvaged.

Like Capa’s work, Richardson’s photo achieved its journalistic purpose, turning its technical imperfections into a visually compelling and emotionally resonant asset. Notably, Richardson’s photograph was also taken in black and white, adding to its timeless appeal.

Robert Capa once said, "If your photos aren’t good enough, you’re not close enough." Richardson’s proximity to the scene—both physically and emotionally—enabled him to capture an extraordinary image, despite its blurriness, shakiness, and dimness. Ultimately, his work reestablishes the value of classic photojournalism.

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer

 
 
 
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Paul Caponigro (1932-2024)

The obituary below will help reflect the life of a good friend and wonderful photographer PAUL CAPONIGRO.

The photo was taken in 1978  on a workshop when Paul was showing me(beard) and participants his 5x7 camera.

He was one our early workshop leaders at The Photographers Place in Derbyshire where he lead workshops in 1978 and 1980. I was also involved with an exhibition of his work at The Watermans Art Centre in the 80s, and was chair of an accompanying seminar with Paul and Thomas Joshua Cooper. He was a generous human being, great teacher and his seminal photographic art speaks for itself. I first met him in 1975 at his home in New Mexico with his wife Eleanor. He and Eleanor, who worked at a museum in the area, were wonderful hosts to Tom Cooper and me. We were compiling interviews for Dialogue with Photography and he wanted to know if we were going to interview him. "No, you're far too young - you're only 8 years older than me!" I told him much to Tom's amusement.

But it is always the amusing and quirky anedotes that reveal much more than eulogies and dates. Fay Godwin came to Bradbourne to watch Paul print in my darkroom and was delighted that he confirmed that her approach and technique in the wet darkroom matched his. Cream teas featured heavily on our field trips in the Peak District National Park, but it was one episode that I and the participants will remember on Stanton Moor near an ancient stone circle. He genuinely believed in wood nymphs, but I digress. I pointed out three abandoned round millstones and he was away. Out came his 5x7 former New York press camera (he liked it because it had a cartridge for dark slides that tumbled into it after use) and tripod and dark cloth. The millstones were under the branches of a silver birch, but one fell over the top of the upright stones. In a flash he marched over to the tree and snapped off the branch. One of the more sensitive nature-loving participants, who had been enthralled watching his hero, exclaimed: "Why did you do that,Paul?" "I was just improving on Nature," he replied, which proved that despite his legendary spiritual credentials he was more a photographer than an environmentalist. After all, we know that the photograph is the event and the experience, and will last longer than the tree if you tone and wash the print properly.....😉

 

Obituary

CUSHING - Paul Caponigro died of congestive heart failure Sunday, Nov 10, 2024.

Born in Boston in 1932, at a young age, Paul Caponigro displayed dual passions for photography and music. He studied at Boston University College of Music in 1950 with Alfonso Fondacaro before deciding to focus on photography. Caponigro remained a dedicated classical pianist, and his music influenced his photography. You can hear him play here - https://bit.ly/4bZEBQ8 .

One of America’s foremost landscape photographers, Caponigro is best known for the spiritual qualities he revealed in natural forms, landscapes, and still lifes. His subjects include the megalithic monuments of the British Isles, Scotland, Ireland, and France; the temples and sacred gardens of Japan; and the woodlands of New England. His photographs are featured in more than a dozen monographs, including Sunflower, Landscape, Megaliths, New England Days, and The Wise Silence.

He had his first solo exhibition at the George Eastman House in 1958 and went on to be widely exhibited internationally. Caponigro's work is included in countless collections including the Museum of Modern Art, the Smithsonian America Art Museum, and The Getty.

He received two Guggenheim Fellowships and three National Endowment for the Arts (NEA) grants. He consulted with the Polaroid Corporation. In recognition of a career spanning nearly seventy years and a sustained, significant contribution to the art of photography, Caponigro was awarded The Royal Photographic Society’s Centenary Medal and Honorary Fellowship in 2001, was the Honoree for the Achievement in Fine Art presented by the Lucie Awards in 2020, and inducted into the International Photography Hall of Fame in 2024.
First visiting Maine as a boy with his father, he later spent many summers as one of the first teachers at the Maine Media Workshops, before moving permanently in 1996 to be near his son in Cushing, Maine. Son of George and Mary Caponigro, he is survived by his ex-wife Eleanor; son John Paul; daughter-in-law Arduina; and granddaughter Gwen. In lieu of flowers, the family asks that you consider making a contribution to the Paul Caponigro Scholarship Fund at Maine Media Workshops - https://www.mainemedia.edu/.

Details about memorials, both in-person and online, will be forthcoming and can be found on his son’s website - johnpaulcaponigro.com
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During my daily research into the history of photography, its origins, and tools, I came across this photograph in 2019. I found it among a pile of old photos, magazines, and newspapers, almost falling apart, in one of the antique and secondhand markets in the Hungarian capital, Budapest. Intrigued by the photograph, I began investigating its history with only the name of the studio and the country printed on it. My initial findings indicated that the photo was taken between 1880 and 1884 in Bucharest, the capital of Romania, by a photographer renowned in academic and artistic photographic circles worldwide and in Romania’s photographic culture, Franz Duschek.

I often delve into the history of photographs and cameras to document them and deepen my understanding of their historical, artistic, and technical contexts. These insights later serve as material for my research articles on the history of photography. However, what caught my attention and piqued my curiosity about this particular photograph was the embroidered attire of the woman in the image. The dress bore a striking resemblance to traditional Palestinian embroidered garments, known as the "thobe," as well as the attire of the broader Levant region. This resemblance prompted me to investigate further.

I began questioning whether the woman could have been from a migrant generation from the Levant, specifically Palestine, to Romania. Research revealed that a significant number of Palestinian and Levantine families had migrated to Romania and neighboring countries during the Ottoman presence along the Black Sea coasts. After a brief investigation, I found that the traditional Romanian attire closely resembled, almost to an astonishing degree, the Palestinian embroidered thobe and traditional clothing from other Levantine countries. While this resemblance was intriguing, I did not delve deeply into the possible cultural influences between Palestinian or Levantine migrants and Romanian folk attire, as it was outside the scope of my research. Nevertheless, I hope that someone might someday explore whether the ancient Canaanite Palestinian thobe influenced Romanian folkloric dress.

The most surprising discovery about this photograph came when I searched the Romanian National Archives for historical photographs using the time period and the photographer’s name. I found that the image I had was of Queen Pauline Elisabeth of Romania. She had a passion for photographing herself in traditional Romanian attire to present herself to Romanian society as one of their own, as she was of German descent. Pauline Elisabeth became a princess after marrying a Romanian prince in the 1860s and later ascended as Queen of Romania when her husband, King Carol, was crowned in 1881, marking the establishment of the Romanian monarchy.

This photograph is one of the rare copies, most of which were directly sent to the queen or kept in the royal archive. Some were distributed by the royal palace as gifts to princes, princesses, and the aristocracy of Romania on national occasions, along with other photographs of the king and the royal family. Therefore, finding a copy of such a photograph among a heap of deteriorating papers, newspapers, and magazines is an extraordinarily rare occurrence. My search into the storage locations of such royal photographs revealed that the original copies are preserved only in Romania’s historical archives and the Romanian Museum.

What adds even more fascination to this story is that the queen in the photograph, before becoming a princess, during her time as a princess, and even after her coronation as queen, was an accomplished poet. She wrote and published poetry in German, French, English, and Romanian under her literary pseudonym "Carmen Sylva," a name well-known in German literary circles in particular and European and Romanian literary circles in general. After her coronation, she earned the title of "The Literary Queen."

The photographer Franz Duschek, who captured this image, was one of the most celebrated and renowned photographers in Bucharest. Although not Romanian himself, he became known across Europe for his artistic indoor portraits, taken either in his studio or in the homes of wealthy aristocrats and the royal family. Duschek also gained particular fame for his children’s portraits, considered some of the most challenging to capture. He would often use sweets and toys to distract the children from the camera.

In 1883, Duschek decided to leave Romania due to health issues exacerbated by the cold climate. Seeking a milder environment, he moved to Alexandria, Egypt, after selling all his possessions in Bucharest. Unfortunately, Duschek passed away a year later in Alexandria.

Sources differ regarding his birthplace and place of death. Some suggest he was born in Prague, while others claim Budapest. Similarly, his death is variably reported as having occurred in Suez or Alexandria. What remains undisputed in all accounts is that Franz Duschek was an exceptional and pioneering photographer who left behind a remarkable legacy in photographic art, particularly in portraiture. His iconic portraits of the "Literary Queen," Carmen Sylva, remain a testament to his artistry.

By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.

Palestinian-Jordanian Photographer

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