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The Art Fund helps Birmingham Central Library secure 70s photographs

Posted by Pete James on February 6, 2009 at 21:22

Birmingham Central Library has been awarded £11,750 by The Art Fund, the UK’s leading independent art charity, to purchase prints by two of the leading British documentary photographers of the 1970s, who were inspired by amateur Victorian photographer Sir Benjamin Stone.The acquisition includes a total of twenty-four photographs by Daniel Meadows and Homer Sykes, who documented the lives, customs and festivals of British people some eighty years after Stone toured the country recording similar subjects.Images from Sykes’s book Once a Year – Some Traditional British Customs and prints from Meadows’s Free Photographic Omnibus project will form the basis of a new collection demonstrating Stone’s influence on subsequent generations of British photographers. The Library already holds other signifcant work from this period including a portfolio of images by Tony Ray-Jones (printed after his death by John Benton-Harris), and The Paul Hill / Photographer's Place Archive.Meadows, Sykes and Ray-Jones were featured in the legacy section of the Library’s exhibition Knight of the Camera: the Photographs of Sir Benjamin Stone MP in Centenary Square in 2008. The purchase was supported by Anthony Collins Solicitors, major sponsors for last year’s exhibition.The Library has an immense archive of over 22,000 photographs colleted and taken by Stone which were gifted to Birmingham Free Libraries after his death in 1914. It now forms the cornerstone of the Library’s collection which was awarded Designated status in 2006 by the Museums, Libraries and Archives Council.David Barrie, Director of The Art Fund, said: “This is an immensely rich and diverse collection of works from two very important photographers, who have dedicated their careers to capturing the social zeitgeist in Britain. The Art Fund’s core purpose is to make great works of art available for everyone to enjoy, as this work now will be for generations to come.”The prints will be on view alongside other material at the forthcoming RPS Historical Grroup event at the Library on 14th March. Collections like this and Birmingham's extensive archives will be opened up further to the public as part of the Library of Birmingham, set to open in Centenary Square in 2013. This will include a gallery space as well as facilities to improve the acess to and standards of care and conservation of the collections.

Displaying Photos

Posted by Pat Jewett on January 6, 2010 at 2:50

As the world moves to almost complete digital, sites like this have to begin thinking of ways of how to move exhibits out of event tents and onto the internet. Social networks like this are becoming the contact centers of the world, but the ability to catalog and display images is still lagging, in my opinion. Better meta tagging and recognition software is needed to pull the massive photo libraries together into a usable and user friendly experience. I think we are moving in that direction, but there certainly is a lot of work to be done.

Research Studentship: Images of China in the West

Posted by Michael Pritchard on September 8, 2009 at 6:26

In conjunction with the National Media Museum, the University of Bolton wishes to offer a postgraduate research studentship for a suitable candidate to undertake research on relevant collections within the National Media Museum in the following areas: Interpretations of China by nineteenth century European - chiefly British - photographers Images of China prior to the Cultural Revolution A comparative study of images of China from European and Chinese perspectives Applicants should: Hold a Masters level qualification in photography Be fluent in spoken and written English and Mandarin Be aware of European and Chinese cultural contexts Have experience of research Have experience of working as a photographer Be able to work independently Have a strong visual sense Understand the history of photography Be motivated and enthusiastic The Yang Memorial Scholarship is for three years, subject to a satisfactory performance review at the end of twelve months. The closing date for applications is Wednesday 30th September 2009 at 12pm. Interviews are expected to take place at the beginning of October. Application forms and further details are available on request by emailing Susan Farrell: sf1@bolton.ac.uk. Alternatively, please telephone her on +44 (0)1204 903611 (no C.V.s accepted). Yang Memorial Scholarship Professor Yang Xiaoguang was Dean of the Dalian College of Image Art and a key influence in setting up the MA Photography at the University of Bolton that runs both in Dalian and Bolton. Tragically he was killed in a traffic accident in Nepal while teaching a photography workshop in 2008. Amongst many other interests Professor Yang had a keen interest in the study of Chinese photographic archives held outside of the country, many of which provide a unique visual insight into everyday life in China in periods when few Chinese photographers shared the same passion to document.

'Victoria and Albert: Art & Love' - new exhibition includes photographs from Prince Albert's collection

Posted by Sophie Gordon on March 18, 2010 at 13:50

A selection of photographs from the collection of Queen Victoria and Prince Albert, taken between 1848 and 1860, will be on display from Friday 19 March at The Queen's Gallery, Buckingham Palace, London. Works by Roger Fenton, J.J.E. Mayall, Richard Beard, T. Brunell, Leonida Caldesi, Oscar Mallitte, Comte de Montizon and Gustave Le Gray are included.

The exhibition, which also includes oil paintings, watercolours, decorative arts, jewels and textiles, examines the art collected, acquired and/or commissioned by Victoria and Albert during their marriage which was cut short by Prince Albert's sudden death in December 1861.

The exhibition is open until 31 October 2010.

http://www.royalcollection.org.uk/microsites/vanda/index.asp

To go straight to the photographs:

http://www.royalcollection.org.uk/microsites/vanda/MicroSection.asp?themeid=796

A London Presence?

Posted by Michael Pritchard on February 1, 2009 at 8:00

The location of Bradford for the National Museum of Photgraphy, Film and Television (now the National Media Museum) was always a bit problematic for Britain's London-centric visitors and arts community - notwithstanding the fact that there are almost as many potential visitors within an hour travel time of Bradford as there are to London. Overseas tourists unless they are persistent are reluctant to take a three hour train ride; scholars wishing to access the museum's collections have no choice. In the early days the museum would ship journalists and guest to exhibition openings by train in dedicated coaches. So it probably wasn't too many years after the museum's 1983 opening that thoughts turned to bringing the collections physically to a London audience in some way. The NMeM's much vaunted 'London presence' which has been discussed formally since at least 2003 still remains on the table in 2009 although a venue has still to be confirmed. Past rumours have centred on Somerset House and even a standalone space. It seems likely that a space at the Science Museum in Exhibition Road, SW7, has been found which will open by 2011-12. Both museums are part of the National Museum of Science and Industry grouping and there would be benefits in making space available. What is known is that the NMeM is currently working with Event Communications Ltd and Thompson Brand Partners, a Leeds consultancy which undertook the museum's recent rebranding, to produce a masterplan for a London presence.The space under consideration consists of two temporary exhibition galleries totalling 1,000 sq.m. where world-class exhibitions in photography and other media could be staged. A separate entrance would allow the space to operate independently of the Science Museum's opening hours. Funding remains problematic although the chair of the museum trustees, the James Bond producer Michael G. Wilson, has committed himself to the project and fundraising for it. Larger questions remain about what will be shown. The Science Museum closed its Photography, Cinematography and Optics galleries some years ago and the new space would allow the NMeM to showcase a changing selection objects from these subjects areas in the space. To simply showcase highlights from the collections in London would almost be an admission of defeat about Bradford as a location. What seems more likely is that the space will be used to launch exhibitions of photography in the capital before they transfer to Bradford. There is a considerable market for photography in London that the Science Museum's near neighbour, the Victoria and Album museum is unable to meet and a coordinated programme with the V&A might ensure that photography enjoys a better representation than hitherto. The NMeM remains tightlipped about precise timings, plans and funding. Keep watching this space.

NMeM Bradford: Frederick Evans Exhibition in 2010

Posted by Michael Pritchard on December 27, 2009 at 18:48

After showing at the Getty in Los Angeles from 2 February-6 June 6 2010A Record of Emotion: The Photographs of Frederick H. Evans will be on view at the National Media Museum in Bradford, from 24 September 2010–20 February 2011. The exhibition explores the artist’s images of medieval cathedrals in England and France, rarely seen landscapes of the English countryside, and intimate portraits of Evans’s family and friends. Through a deep understanding of his subject and a delicate handling of light, mass, and volume, Frederick H. Evans (British, 1853–1943) created photographs of medieval cathedrals that capture the innate spirituality of each stone building. Evans began photographing cathedrals in the mid-1880s. He was able to create magnificent examples of light and shadow through the interior views of historic sites such as Ely Cathedral, York Minster, and Westminster Abbey. More than simply recording their physical features, Evans sought an emotional connection with the spaces he photographed, aiming for a “record of an emotion” rather than a piece of topography. His interiors are often dramatic renderings, paying homage to the inner sanctity of the site while also exploiting the architectonic elements. He described the cathedral photographs as studies since he approached each building in a methodical, measured way. In documenting these sites, Evans stayed for several weeks studying them from early morning to dusk, pacing around naves and cloisters and recording—first as notations in a notebook and later as photographic images on paper—the changing effects of light as it illuminated dimly lit interiors at various times of day. Choosing to work in platinum for its tonal range, Evans was a purist who did not believe in manipulating the negatives. He advocated, “Photography is photography; and in its purity and innocence is far too uniquely valuable and beautiful to be spoilt by making it imitate something else.” His expert craftsmanship extended to the presentation of the actual prints, which were carefully mounted onto different colored paper supports or featured a series of applied borders. One of the many highlights of Evans’s architectural photographs is a small selection of prints documenting Kelmscott Manor, home of William Morris, the leader of the Arts and Crafts Movement in England. These photographs, central to the Getty holdings, are arguably among Evans’s finest pieces. Although similar to the grand cathedrals in evoking a kind of reverence, the images are much more intimate and reflective. Starting with distant views of the house from the river, Evans leads the viewer across the site, into the house itself, and through the various chambers. He studied the location and considered the architectural space in a series of views that sought to capture the soul of the place, culminating in photographs of the light-filled attic. Other highlights include A Sea of Steps, one of his most recognizable and appreciated photographs of Wells Cathedral. Evans made several attempts over a number of years to successfully capture the wave-like motion of the worn, stone steps. Today this particular image is among the most renowned architectural renderings in the history of photography. Although lauded for his architectural photographs, Evans was also accomplished in the areas of portraiture, landscape, and photomicrography (photography using a microscope), and he brought to each subject the same intensity that characterizes his cathedral images. A small selection of his photomicrographs will be included in a rare display of the glass lantern slides (photographic images on glass) that Evans used for his public lectures. From 1890 to 1898, Evans ran a bookshop in London. During this time he came into contact with various literary figures, and over the years many of them sat in front of his camera. Included in the exhibition are portraits of the playwright George Bernard Shaw, who shared with Evans an enthusiasm for the pianola (automatic player piano), and the young Aubrey Beardsley, whose graphic talents Evans is credited with having discovered. In his portraits Evans attempted to evoke the sitter’s personality. Using a Dallmeyer-Bergheim lens, because it afforded a greater degree of softness in rendering facial features, he tended to isolate the sitter with little background detail or props to convey their psychological presence. Also on display in the exhibition are photographs by Evans that capture the beautiful landscapes of the English countryside. Evans began making landscapes in the early 1880s when he was seeking respite from health problems and found himself traveling often to the Lake District in the north of England. His numerous trips to local woodland areas in Surrey resulted in photographs of majestic trees that recalled the soaring columns of cathedrals. “For Evans the work was clearly an emotional enjoyment that is revealed in this exhibition of his life and work,” says Anne Lyden, associate curator of photographs and curator of the exhibition. “He attempted to capture what he called ‘a record of an emotion,’ by invoking the potent symbolism of these awe-inspiring spaces.” In Bradford Curator of Photographs Philippa Wright has been responsible for the show.

Pete James gains RPS award

Posted by Michael Pritchard on September 7, 2009 at 7:30

Peter James, Head of Photography at Birmingham Central Library has been given the 2009 Colin Ford Award by the Royal Photographic Society. The award, instituted in 2003, bears the name of Colin Ford CBE, the first Director of the National Museum of Photography Film and Television in Bradford (now the National Media Museum). It is normally given each year to honour an individual who has contributed in a major way to curatorship. It has previously been awarded to staff members at the NMeM. Peter has an outstanding record of exhibitions and work in photographic history and in commission contemporary photographers based around the library's collections. He is currently working on plans for the photography collections as part of the library's move to a new building.

NMeM seeks a Creative Director - Exhibitions

Posted by Michael Pritchard on January 31, 2009 at 12:00

The National Media Museum is seeking a Creative Director - Exhibitions of international calibre to develop and deliver an exciting, enhanced vision for the content of its temporary exhibitions programme, as it delivers on its goal to be the best museum in the world for inspiring people to learn about, engage with and create media. Key to this goal is the ambition to create a showcase gallery in London to raise the profile of the Museum with new audiences in the nation's capital and to further enrich the city's cultural life. Individuals with outstanding creative talent from any area of the visual arts and media are encouraged to seek further information by visiting the Perrett Laver website at http://www.perrettlaver.com/candidates, quoting reference 0409. Closing date for applications is 5pm on Thursday 12th February 2009.

Discovering the Language of Photography: The Gernsheim Collection

Posted by Michael Wong on March 18, 2010 at 11:28

Helmut Gernsheim (1913-1995) was one of the most influential figures in the history of photography. He was one of a handful of people whose original research, collecting and writing took the field seriously and changed the way it was regarded. His scholarly and encyclopaedic book, The History of Photography (1955), co-written with his wife Alison, became the authoritative source on the subject. Over the years, Gernsheim managed to assemble a peerless collection of works by leading British, French and German early photographers. These included important British images by Fox Talbot, including a copy of his work The Pencil of Nature, Hill and Adamson, Fenton, Cameron, Le Gray and Daguerre, all of which have since come to be regarded as masterpieces of the 19th century. One of his most sensational discoveries and acquisitions was of the earliest known photographic image, taken by Niepce in 1826.

This exciting and new exhibition at the Harry Ransom Centre, University of Texas scheduled for this coming fall/winter is made up of two complementary and interweaving narratives—the history of photography as told through the collection's imagery, and the history of the collection's formation and methodology. The Gernsheims Collection will be on display alongside works by unknown or lesser-known artists who used various means to improve or to exploit the relatively new invention of photography. The exhibition will highlight key moments in the history of photography, important technological and ideological shifts in the act of picture making, and narratives that served the Gernsheims as key points of collecting.

Further information will be provided in the 'Events' section of this blog as it becomes available. For those who can't quite make it to Texas, there is a fascinating on-line site (http://www.hrc.utexas.edu/exhibitions/permanent/wfp/) to view one of the Centre's most prominent permanent exhibiton i.e., the first photograph (View from the Window at Le Gras) by Frenchman Joseph Nicéphore Niépce - a great background read to the forthcoming NMeM's conference in October, as reported exclusively by the BPH blog creator.

Photo: The First Photograph (View from the Window at Le Gras. ca1826, heliograph, in original frame, 25.8 x 29.0 cm) housed in its original presentational frame and sealed within an atmosphere of inert gas in an airtight steel and plexiglas storage frame, must be viewed under controlled lighting in order for its image to be visible.

OWL Stereoscope available

Posted by Michael Pritchard on December 20, 2009 at 6:30

The finest Stereoscope to appear in the last 120 years is the claim made for the British-made and designed Owl stereoscope. It was originally produced to accompany Brian May and Elena Vidal's book on the 1850s photographer T. R. Williams A Village Lost and Found. The Owl is now available to purchase separately and in a range of colours. It works well with traditional stereoscards. Click here to see and read more and purchase: http://www.londonstereo.com/shop_home3.html

CONFERENCE CHAMPIONS DISCOURSE ON PHOTOGRAPHY: Photography: Object to Idea

Posted by Valérie C. Whitacre on October 11, 2009 at 11:18

CONFERENCE CHAMPIONS DISCOURSE ON PHOTOGRAPHY:Photography: Object to IdeaA full day conference to examine the past, present, future and polemics of photographySaturday, 3 October 2009

On Saturday, October 3, a group of 14 prestigious speakers gathered at the Courtauld Institute of Art to bolster and debate the many facets of photography at a conference entitled Photography: Object to Idea. The goal of the conference was to bring attention to the past and future of photography worldwide and in the UK where the presence and public interest in photography has waned by comparison to its neighbours. The event also brought together the major players in the world photography market from London to New York, clearly demonstrating the strength of the photographic community and a persistent, substantial level of interest in photography worldwide.Nearly 150 delegates attended the event which included presentations about a variety of photographers and subjects. Senior Curator of Photographs at the Victoria and Albert Museum Martin Barnes spoke about an exceptional book maquette of Josef Sudek’s. Martin Caiger-Smith of the Courtauld brought to light the influence of personal curiosity and the impact on history presented by collections of images from the Vkhutemas workshops. Author and curator Brigitte Lardinois gave an illuminating survey of Eve Arnold’s career, followed by critic Louisa Buck who presented a vivid review of Helen Chadwick’s oeuvre. These discussions were largely inspired by the collection of the Tosca Photography Fund which sponsored the event.Speakers also addressed the issues concerning the future of photography and the market. Collector Michael G. Wilson discussed the various methodologies of collecting and the concerns over the obsolescence of archiving photography—or its now, digital original—and the contemporary photographic practice in an increasingly digital age. These concerns responded directly to Adam Broomberg and Oliver Chanarin’s discussion of their work, which effectively refuted the photograph as document and object. In the contemporary market, these opposing views span debates over the mounting of photographs, the investment value of work which is destined to fade, and the mutability of the photograph in an age when digital formats make the object itself infinitely reproducible and upgradable.

A question and answer session then delved into the future of the photographic practice, conservation, and presence which has become increasingly overshadowed by the contemporary art market. Additional speakers included W.M. Hunt, David Campany, Tom Hunter, Mark Haworth-Booth, Anne Williams, Geoff Dyer, and the founder of the Tosca Photography Fund, Mehmet Dalman.In the evening, after a full-day programme, the delegates and speakers joined one another for a drinks reception, fostering more personal dialogues and relationships over shared interests and concerns for photography. The conference succeeded in exposing the discourses of photography and to bring together the photographic community.Delegate Jean Roberts commented with a laudable review of the event: ‘It was a pleasure to hear such a range of approaches to the discussion of photography all under the same roof. Like everyone who was in the room I love photography, I love taking photographs and looking at photographs but what particularly struck me about last Saturday’s programme from Mehmet Dalman’s opening comments onwards was enthusiasm for the story surrounding photographs, the bigger picture, the one involving the photographer, the viewer and the subject.’Overall, the conference was indeed an auspicious day for photography: opening the door for valuable discussions regarding the impact of photography and an encouraging demonstration of the support behind medium’s presence today.Valérie C. WhitacreAssistant Organiser, Photography: Object to Idea08.10.2009*Images taken from the Tosca Photography Fund

My Favorite Photograph

Posted by Antiquarianphotographer on August 31, 2009 at 14:00

“Pamela’s Circle c. 1740”Ambrotype by Judith Harrison Kalter{see photograph in "Photos" on above tabs}“Pamela’s Circle c. 1740” is a quarter plate ambrotype on black glass. It measures3 ¼ x 4 ¼ inches and is still without a proper case. This is now my favorite photograph because it was made in the 21st Century, using a process devised in the 19th Century with equipment from the early-mid 20th Century to photograph a book written in the 18th Century. One of the first English novels, Pamela or Virtue Rewarded by Samuel Richardson was first published in 1740 and is the story of a young woman, in servitude to the master of the house, who is also her tormentor. She prizes her chastity, learns how to protect it and is rewarded by marrying the lord of the manor and in the final chapters learns her new role in society. Virtue rewarded. The props in the photograph were carefully chosen to reflect the manners of Pamela’s social circle.The picture accompanying my ambrotype is the set up I used in making the photograph and made with a digital camera. I like how the juxtaposition of the two photographs shows how the ambrotype image is flipped; truly a negative image of the subject. Both photograph were taken out of doors in natural light, filtered by tree leaves, late one afternoon. My camera is a Kodak 5x7 wooden view camera. The wetplate collodion process is familiar to most people as that used for tintypes. In fact it is difficult to tell the difference between a tintype and an ambrotype when they are in cases and under glass. I use a magnet to identify a tintype as it will attract a magnet and the glass of the ambrotype will not. Ambrotypes are most often made on clear glass with a dark paper or black velvet placed behind and glass over the plate to protect it. I will be writing about how to make an ambrotype in an upcoming edition of The Photogram.“Pamela’s Circle c. 1740” also embodies for me the changing role of women from the rigid feminine roles of the 18th Century to the freedoms enjoyed and the roles played by women in society today.Judith Harrison Kalter 2009

Brought to Light: Photography and the Invisible, 1840-1900

Posted by Michael Pritchard on January 31, 2009 at 11:00

Alison Morrison-Low wrote a review of this book for the Times High Education Supplement which can be found by clicking here The first part of the review is below. The exhibition on which the book is based will be at the Albertina in Vienna from 20 March and should be worth visiting. --------- A lavish catalogue illuminates the secrets of scientific photography, says A.D. Morrison-Low The conjunction of photography and science has had something of a history, but perhaps not one that has been explored enough. Photography, after all, is the art form (though there are many in the art world who would deny that it is an art form) that was born of optical science married to chemistry in the late 1830s - in France by Louis-Jacques-Mande Daguerre, and in England by William Henry Fox Talbot. Brought to Light: Photography and the Invisible, 1840-1900 is the sumptuously illustrated catalogue of an exhibition of the same name which, after a lengthy run in late 2008 in San Francisco, will be at the Albertina museum in Vienna from 20 March until 6 June. The first such exhibition of historic photographs of scientific importance was held more than 20 years ago at what was then the National Museum of Photography, Film and Television (now the National Media Museum) in Bradford, and named, along with its accompanying book, Beyond Vision. Written by Jon Darius,...

Open Eye Gallery gets funding for move

Posted by Michael Pritchard on May 7, 2009 at 7:30

Open Eye Gallery, the north west’s only photography gallery, is preparing to move to brand new premises in the heart of Liverpool’s waterfront after receiving a £100,000 award through Arts Council England and the National Lottery. The new premises on Mann Island will be constructed to allow Open Eye Gallery the opportunity to offer new gallery and education spaces, as well as giving the public access to the gallery’s extensive print collection. Open Eye Gallery is one of the UK’s leading photography galleries and is regularly funded by Arts Council England. Sarah Fisher, Head of Visual Art says: 'Liverpool has an exceptional offer for those interested in exhibitions, with Open Eye providing an insightful photography programme. The Gallery's move to Mann Island will mean they finally have the exhibition space to match their international ambitions.' Patrick Henry, Chief Executive of Open Eye Gallery, says: ‘The National Lottery award takes us a step closer to our new home at the heart of the Liverpool waterfront. A larger, more flexible space - twice the size of our current premises - will help us to build up our artistic and engagement programmes, reach more people and raise our ambition all-round. This is great news for Open Eye Gallery, for Liverpool and for photography in the UK.’ The North West’s only gallery to focus exclusively on photography, Open Eye was established in 1977.

NMeM collection discovers a new Demachy

Posted by Michael Pritchard on August 29, 2009 at 12:00

The NMeM blog reports that a PhD student has discovered a new Demachy print in the museum's collections. Student, Julien Faure-Conorton from Paris, found the print Ploërmel, Brittany hidden beneath another print in the collection, La Cueillette, which is part of the Royal Photographic Society material now housed in Bradford. In the words of the blog posting: The full story is this: Julien has been jetting over from France since February to have a ferret around our collection of photographs by Demachy. Demacy was a Frenchman whose early pictorial photography made him one of the world's most famous photographers by the early 20th century. He had a record five exhibitions dedicated to him at The Photographic Society in London -- but mysteriously hung up his camera for good in 1914, never to so much as photograph his grandchildren again. He was also one of the very first people in France to have a car. We have all the prints that Demachy originally donated to the Royal Photographic Society, but it was one in particular -- RPS3647, La Cueillette ("Gathering") -- that led to Julien's big moment. Looking at the picture, Julien noticed that the corner of the print was peeling at the corner, detatching slightly from its cardboard backing. And there was something underneath. That something turned out to be an entirely different Demachy print -- entitled Ploërmel, Brittany. It seems that Demachy was either unhappy with this hidden print, or was just short on backing boards and had to reuse it for La Cueillette. So Julien's eagle eye uncovered an important early photograph we (and the Royal Photographic Society) didn't even know we had. Check out the full posting and more pictures at the National Media Museum blog.

British camera website

Posted by Michael Pritchard on January 31, 2009 at 11:00

A new website has been launched which provides images and previously unpublished information about British camera manufacturing companies and their products. The site can be accessed here: www.earlyphotography.co.uk

Online Exhibition - Countryside Images

Posted by Guy Baxter on June 25, 2009 at 10:24

The Museum of English Rural life at the University of Reading (UK) would lke to invite you to visit the Farmer and Stockbreeder collection online exhibition at http://www.reading.ac.uk/merl/research/countrysideimages/merl-list.aspCategories include: Agricultural Labour and People; Cattle; Children and Young Farmers; Crafts; Crops and Fruit; Harvesting and Picking; Haystacks, Ricks and Thatching; Horses; Land Cultivation; Machinery; Marketing and Packaging; Milking and Dairying; Pigs; Poultry; Rural Buildings and Landscape; Second World War and Agriculture; Sheep;Shows and Competitions; Women in Agriculture; Women's Land Army.In September 2008 the Museum started the Digitisation of Countryside Images Project to digitise and catalogue 13, 000 glass negatives from the Farmers Weekly and Farmer and Stockbreeder photographic collections. Images date from 1920 to 1965 and represent the two most comprehensive collections of documentary photogrpahy relating to British farming and the countryside in the 20th century. The project is funded by JISC as part of the Enriching Digital Resources programme, a strand of the Digitisation programme.The Farmers Weekly collection online exhibition will be available in September 2009.

Art Fund Award for Birmingham Library

Posted by Pete James on May 6, 2009 at 16:09

Following the recent award of £11,750 to acquire works by Daniel Meadows and Homer Sykes, Birmingham Central Library has been awarded a further £6000 by The Art Fund, the UK’s leading independent art charity, to purchase 12 prints Anna Fox, one of the UK’s leading photographers. Work of all three photographers was included in the Legacy section of the recent exhibtion Knight of the Camera: The Photographs of Sir Benjamin Stone (2007)The works to be acquired come from the series Back to the Village (1999-2008). This is an ongoing photography project observing the uniquely English rituals that take place in the picturesque villages of Hampshire. Anna Fox says:“I first came to see the Benjamin Stone Collection in the late 1990s when I was researching a lecture on the archive for the Royal College of Art. I knew about the collection as I had seen a few prints in an early edition of Creative Camera and a number of photographers had mentioned how much the work had influenced them in the late 70s. I was astounded by the volume of work in the archive and completely fascinated by the photographs of customs and fairs, which was a subject close to my heart having grown up in rural Hampshire. The Benjamin Stone photographs also amazed me because I realised how timeless they were - people dressing up could almost belong to any time. Although I find most of the photographs interesting my favourites have always been the Sherbourne Pageant, something in the subjects’ poses lends a sense of humour or irony to this image that is unforgettable.”The Library has an immense archive of photographs by Stone which were gifted to Birmingham Free Libraries after his death in 1914. It now forms the cornerstone of the Library’s collection which was awarded Designated status in 2006 by the Museums, Libraries and Archives Council.The work acquired by these three key photographers will be the subject of an exhibition at Birmingham Museum and Art Gallery in 2010.

Forthcoming book: Points of View. Capturing the 19th century in photographs

Posted by Michael Pritchard on June 19, 2009 at 9:30

This publication will be available from November 2009 to coincide with the British Library's major autumn exhibition highlighting photography within the Library.The book, for the first time, brings together a selection of images from the Library's collections. It examines the history, diversity and influence of photography from its invention and early years up to the growth of a popular amateur market in the early twentieth century. Begining with the work of William Henry Fox Talbot and other influential pioneers, the book includes many of the celebrated names in nineteenth-century photography from across the world including Francis Frith, Felix Teynard, Samuel Bourne and Peter Henry Emerson, as well as numerous lesser-known names who made significant contributions to the medium. Organised by subject matter in a broadly chronological arrangement, it asks: Who was taking the photography and why? Section by section, items are presented within their cultural contexts, exploring some of the major themes of the nineteenth century, from imperial expansion to industrialisation and the emergence of new scientific and social disciplines in an era of rapid social change. The final sections of the book will examine the ways in which the development of simplified cameras and accessible technology responded to the demands of a developing mass market for photography, which continues up to the present day. Points of View. Capturing the 19th century in photographs Edited by John Falconer and Louise Hide British Library, London Hardback, £29.95 / Paperback £15.95 ISBN 978 0 7123 5081 5 / 978 0 7123 5082 2 176 pages, 100 colour illustrations

Harry Hammond 1920-2009

Posted by Michael Pritchard on March 14, 2009 at 6:02

Harry Hammond, described as the first great photographer of British rock'n'roll has died aged 88. Hammond chronicled the first decade of that music up to and including the Beatles and the Rolling Stones and photographed every major American star who visited Britain. A number of exhibitions of his work, including one at the Victoria and Albert Museum, were held from the 1980s. The V&A also acquired his archive. A full obituary is available here.

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.