Blogs

We’re looking for a Research Fellow in African Film and Visual History to join the international team responsible for the new research project The Uganda Film Unit Archive: Digitisation, Research and Restitution, funded by the Arts and Humanities Research Council. The project is led by Darren Newbury, Professor of Photographic History, School of Humanities and Social Science, University of Brighton and Richard Vokes, Professor of Anthropology and International Development, School of Social Sciences, University of Western Australia; and involves collaboration with the Uganda Broadcasting Corporation.

You will be working closely with Professor Newbury and Professor Vokes playing an important role in the content mapping of the digitised Uganda Film Unit archive and related archival and historical research; supporting fieldwork, data collection and analysis relating to the responses to the archival footage among Ugandan publics and communities; and disseminating the project findings through conference presentation and publication.

To be successful in this role, you should have:

• A PhD (or an equivalent level of professional experience) in an area of history, theory or practice central to the focus of the research project
• Experience of researching in African History/Studies, Film or Media History, Visual Anthropology, or Visual Culture Studies
• Sufficient, up to date breadth or depth of specialist knowledge in the discipline and of research methods and techniques to work within established research programmes
• Experience of data collection and data analysis (including visual data) and data management
• Evidence of commitment to engage in continuous professional development including knowledge of methods for data management
• Understanding of equality of opportunity, academic content and issues relating to student need and commitment to ethical research practices
• Competent and relevant IT skills, effective use of IT for research, and ideally teaching and learning purposes 

The appointment is for a fixed term (18.5 hours per week, 0.5 full time equivalent) with an ideal start date of 01/12/25 and an end date of 30/09/28.

Research Fellow in African Film and Visual History (0.5 full-time equivalent)
University of Brighton, School of Humanities and Social Science
Closes 28 October 2025
Details and apply here: https://jobs.brighton.ac.uk/vacancy.aspx?ref=HU3231-25-209

Gray Levett, who will be best known to many as the owner of Nikon specialists Grays of Westminster, has also had a long career as a photographer.  He is working on a project that covers life around Fitzrovia, in and around the Fitzroy area of London  between 1957 and 1960. and is  looking for images such as the transport, the pubs, the shops and the people.

He would welcome information concerning any any commercial photographers who may have been working in the area or collections of such images. 

Gray can be reached at: gray@graysofwestminster.co.uk  

Dartmouth Museum has recently received a major donation: the entire photographic archive of Vernon MacAndrew (1880–1940), a Dartmouth-connected businessman, yachtsman and philanthropist who pursued photography as a sustained private practice over several decades.The donation has opened a new chapter in the town’s cultural history - and in the life of a man already familiar to many in Dartmouth.

Vernon MacAndrew (1880–1940) is remembered locally as a businessman, yachtsman, and philanthropist, associated with Dartmouth’s maritime and social life in the early decades of the twentieth century. Alongside this public profile, MacAndrew pursued photography as a sustained private practice. He showed work privately to friends, family, and local groups, and he exhibited flower studies at the Royal Photographic Society. In 1936 he was admitted as an Associate of the Royal Photographic Society.

The archive was donated to the Museum by Dartmouth resident Alec Smith, who intervened when the archive was placed on the market at auction.  Alec was impressed by the scale and completeness of the archive: “I’m delighted to have been able to transfer the complete archive to the Museum, so it can be kept together — and so its significance for Dartmouth and for the wider history of photography can be uncovered in the coming years.”

The archive had been in private hands since MacAndrew’s death and has only recently resurfaced at auction. It has not yet been fully catalogued or studied in a museum or academic context. As a result, the figures below are estimates, though they give a clear picture of what has been deposited and the overall character of the collection, which represents the overwhelming majority of his life’s work with his camera.

On current assessment, the archive totals approximately 5,000 glass originals, comprising around 4,500 glass positives and 500 glass negatives. Within this, at least 1,750 items are colour, forming a major component rather than an occasional experiment. On current information, that places it among the largest documented of pre-WW2 colour collections currently in the public domain. The collection spans approximately 1900 to 1939 and includes monochrome work, hand-tinting, and multiple colour processes, with evidence across the archive of Autochrome and other colour systems including Agfa and Finlay (glass and cut film)—a broad technical range within a single private body of work.  There is also evidence of Paget material, but this has not been quantified at this stage.

For photographic historians, this breadth matters because colour appears as a sustained practice rather than a small side-line. A particular highlight is a long sequence (115 slides) of early Autochromes associated with MacAndrew’s time in Valencia (1906–1914), above, left, forming a multi-year run rather than isolated examples. The archive also includes later still life studies, indicating continued technical work with lighting, colour, and composition beyond travel and maritime subjects. In total around 300 Autochrome slides are identified and need to be catalogued.

The archive subjects include Dartmouth and Kingswear—harbour and river scenes, working boats, waterfront life, and yachting—to extensive travel and expedition photography made overseas. The overseas material includes sequences associated with travel in Europe and the Mediterranean as well as work made further afield, including in North Africa and the Red Sea region, Sudan, the West Indies/Caribbean, and the Philippines. This breadth places the archive within wider maritime and travel networks of the period, rather than limiting it to local topography.

A further strand, unusual in its scale within a personal archive, is MacAndrew’s systematic documentation of natural history, including an extensive photographic record of his shell collection alongside studies in botany, insects, and microscopy. After his death, his nationally significant shell collection was donated to the Natural History Museum, and the shell photographs in the archive form a separate visual record of that scientific interest. These sequences suggest a photographic practice used for recording, comparison, and close observation as well as for travel and social documentation.

MacAndrew’s position within yacht racing also provided access that is rarely available to photographers working from outside the sport. As owner and helm of the 12-metre Trivia, he achieved notable success at Cowes Week in 1938, winning 21 prizes including the King’s Cup. This brought him into the international big-boat racing world—yachts, tenders, and the shore-side and social routines around major regattas—and the archive shows that he documented this environment in colour[Image of West Solent One Design racing].

The archive also contains hand-tinted monochrome photographs associated with expedition contexts, showing that colour work here includes both native colour processes and post-production hand colouring. In later maritime work, there is evidence of MacAndrew using Finlay glass plates, and later moving into Finlay cut film, indicating changes in materials and practice within a single working life.

Dartmouth Museum has stressed that this donation marks the beginning of a long-term project rather than a finished story. The immediate priorities are collections-led: stabilisation of fragile glass materials, condition assessment, careful handling protocols, and creation of a structured inventory. Only once these foundations are in place will it be possible to make evidence-based statements about the archive’s wider significance within British photographic history and the history of early colour practice.

“This is an important addition to the town’s historical record,” a museum spokesperson said. “It offers a rich visual account of Dartmouth’s maritime world, but it also raises wider questions about early colour photography and private photographic practice in the first half of the twentieth century.” 

The donation also strengthens an existing local photographic resource. Dartmouth Museum already holds a substantial group of black-and-white glass lantern slides by five local photographers, documenting Dartmouth between 1890 and 1945, totalling approximately 2,400 slides. The addition of the MacAndrew glass material increases the scale and range of Dartmouth’s public photographic holdings and supports future work comparing local documentation across formats, decades, and photographic approaches. A project page on the Museum website will host updates as work progresses.

Taken as a whole, the MacAndrew donation brings into public care a large, technically varied archive made over several decades, and represents his complete oeuvre, so far as we are currently aware. The presence of multiple early colour processes, the sustained Valencia Autochrome sequence, the hand-tinted expedition photographs, the use of Finlay materials in later maritime work, and the extensive scientific documentation of shells and related subjects combine scale with a high level of photographic intent. Once conserved and catalogued, the archive has the potential to stand both as a major visual record of Dartmouth and its maritime life and as a significant body of primary material for the study of early colour practice and private photographic production in Britain in the first half of the twentieth century.

With thanks to Jonathan Turner, Dartmouth Museum.  If any BPH reader has further information about Vernon MacAndrew and his photography, please get in touch with Jonathan at Dartmouth Museum: vicechair@dartmouthmuseum.org.

See: https://www.dartmouthmuseum.org/

Images: (top to bottom): Dartmouth harbour entrance from Bayards Cove, 1930s; Vernon MacAndrew, around 1939; Traditional houses beside a rice field in the Huerta de València, c1912. Autochrome; Hyacinths in flower, Autochrome;  MacAndrew’s expedition motor yacht, Harpado, undergoing repairs in Jeddah c1923; Philippines, over-water stilt village (possibly Moro), hand-tinted photograph, 1929;Shells from the Cyclophorus genus of land snails, found in the Philippines, 1929; West Solent One Design yachts racing in Torbay, early 1930. All courtesy of Dartmouth Museum.

Jane Wigley, one of Britain´s first female photographers, and the first to open (in 1845) a portrait studio in boomtown Newcastle, is today, as she was then, disregarded as a footnote. The pictures she took appeared lost, her life´s story without bookends. New research however illuminates the unique shaping behind Jane Wigley´s character– for the soldier´s daughter had spent much of her childhood in the company of a robot, an invisible girl, and an apparition with bright pink eyes, before coming out into the world herself as a nightingale. Indeed, Jane Wigley enjoyed a full, even brazen life before devoting her energy to the world´s newest wonder, photography.

In his presentation, Kelvin Wilson will present to the Newcastle audience several portraits now believed to have been taken by Wigley in the town, 180 years ago.

Kelvin Wilson is an archaeological illustrator working for museums and publishers. Research into early photographers led him, amongst others, to catalog the life and work of John Sherrington, a calotypist who like himself once emigrated from northern England to the Netherlands.

Little Woman: The Art of Being Jane Wigley, Newcastle’s First Photographer
Kelvin Wilson
Live: 29 September 2025, 1800-1900
Newcastle, Lit & Phil
Details and booking: https://www.litandphil.org.uk/event/little-woman-the-art-of-being-jane-wigley-newcastles-first-photographer/

Since its inception, photography has relied upon diverse forms of knowledge (ranging from chemistry, physics, and mechanics to the arts) and in turn has produced knowledge across a wide array of fields.

Yet, much of this knowledge remains tacit. Researchers attempting to recreate early photographic techniques know all too well that faithfully following historical manuals or recipes does not always yield successful results. These instructions often depend on implicit knowledge, unspoken assumptions, or experiential skills acquired only through practice and repetition. Similarly, photography’s epistemological contributions to areas such as medicine and industry, where cameras and photographs have functioned as instrumental tools, are frequently overlooked or under-acknowledged.

Even in efforts to recover these unspoken practices, scholars and historians may inadvertently reinforce their invisibility. While historiographical approaches may attempt to bridge these gaps, the absence of explicit methodological reflection often perpetuates reliance on assumed, unspoken knowledge.

Given this persistent invisibility, it would seem timely to examine the political, social, and cultural implications of photography’s tacit knowledge. In other words, as photography studies grow increasingly interdisciplinary, and as generative AI reshapes research and creative practices, it appears to be more important than ever to clearly articulate methods and theoretical frameworks.

For the 2026 PHRC Annual Conference, we invite papers that investigate the many ways in which photography has relied upon, generated, challenged, or perpetuated tacit knowledge. We are particularly interested in contributions that interrogate the politics of this knowledge and offer methodological or theoretical insight.

Photography's Tacit Knowledge
Photographic History Research Centre
15-16 June 2026
Hybrid event, Online and at De Montfort University, Leicester.
Conference hashtag #PHRC26
See full details here: https://photographichistory.wordpress.com/annual-conference-2026/

Image: A photographer using a process camera for printing plate making. 1934 (Deutsche Fotothek).

A collection of photographs by Bill Brandt and a group of photographs by Robert Mapplethorpe and others have been transferred to the Tate and Ulster Museum respectively. The transfers have been made under the governement's Cultural Gifts and Acceptance in Lieu schemes. The value of the AIL to the Ulster Museum was £28,409.

The Tate has received a collection of 73 photographs by the photographer Bill Brandt (1904-1983), created from the 1930s to 1979 and donated by John-Paul Kernot. The photographer and photojournalist Bill Brandt was one of many emigrants from Nazi Germany to Britain who made huge contributions to the cultural life of their adopted homeland. Among the most important photographers working in Britain in the 20th century, Brandt is particularly well known for his documentation of societal disparities across Britain, and for his powerful landscape and portrait photographs. In his work, social commentary is tempered by an often dark and poetic beauty. This collection is a careful selection of rare tonal vintage prints (made at or close to the time of the negatives) covering the range of Brandt’s career, but it is especially rich in wartime photographs and landscapes. Significantly, within the collection are some of the actual prints used by Brandt for his publications and these prints carry his annotations. The allocation of the Brandt photographs will transform Tate and the nation’s holdings of this key figure in modern British photography.

The Ulster Museum received five photographs by Herb Ritts, Bruce Weber, Horst P Horst, Boyd Webb and Robert Mapplethorpe. The photographs are characteristic examples of the work of five internationally recognised late 20th-century photographers, all of whom have significantly influenced the history of photography and its relevance to other arts and popular culture. Horst P. Horst, Herb Ritts and Bruce Weber all made their names as fashion photographers, while in his mature work Boyd Webb, who trained as a sculptor, creates and then photographs complex theatrical constructs. Better known for his portraits, Robert Mapplethorpe is represented in the collection by a beautiful still life. 

See: https://www.artscouncil.org.uk/media/24340/download?attachment

Images: Top: Tree in Autumn with crescent moon, 1942 by Bill Brandt. Photo: © Bill Brandt Archive Ltd

For the first time, you can explore the full breadth of the AmberSide film, photography and paper archive in one place. The catalogue is text-based, allowing researchers, students and the public to navigate the Collection’s themes, projects and stories. While the collective cannot publish most images online due to copyright restrictions, the catalogue provides an unprecedented window into the scope and richness of Amber’s work.

This milestone has been made possible through support from the National Archives and the Pilgrim Trust’s Archives Revealed programme, and represents the result of a full year’s dedicated work. Special thanks to our Project Archivist Mark Cordell, AmberSide Trustee Liz Rees, and an incredible team of volunteers.

This is just the beginning: the catalogue will continue to grow and evolve as more materials are documented and made discoverable. It forms an invaluable tool for anyone interested in documentary film, photography, and the social history of the North East and beyond.

See: https://amber.epexio.com/

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

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

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

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

Side, the internationally recognised home of humanist documentary photography and film, which has spent nearly fifty years recording and preserving working-class lives, from its gallery in Newcastle, will establish a curatorial office at Baltic Centre for Contemporary Art, Gateshead in February 2026. The move is both a pragmatic response to the pressures facing arts organisations today and a bold step into a new creative direction. It will enable Side to bring its collection to a wider audience, commission and co-create new work, and deepen its commitment to education and community practice across the North East and beyond.

Side was founded in 1977 on Newcastle’s Quayside by the Amber Film & Photography Collective as a space for lens-based documentary rooted in the realities of working people. From shipyard workers to new communities arriving in the region, Side has made the lives of those too often absent from arts spaces visible. Its AmberSide Collection, recognised by UNESCO, is a growing archive of photography and film that continues to respond to the present: migration, precarity, resilience and everyday solidarity.

The decision stems from the realities of today’s cultural landscape. With public funding shrinking and the cost of running independent venues escalating, many arts organisations today are facing closure. Side and Baltic have chosen to cooperate in a mutually beneficial agreement.

As a cultural tenant within Baltic’s building, Side retains its autonomy and individual voice while both parties can collaborate on exhibitions that recognise the importance of photography as an art form and bring continued visibility of working-class culture to a high volume of diverse audiences.

From 2027, Side will work with Baltic in developing presentations across a range of exhibition and programmable spaces within the landmark industrial building, a former flour mill.  Just as importantly, this move frees Side to invest more deeply in what has always set it apart as an arts organisation: education and community work. With new capacity, Side will expand projects with schools, youth groups and neighbourhoods, creating hyper-local displays that place documentary art back into the communities where it is created.

Laura Laffler, Managing Director of Side said:  “Working-class culture is living culture — it doesn’t belong in the past. Our move to Baltic is about making sure the voices and experiences of ordinary people around the globe remain visible, urgent and valued in the present. Rooted in the North East, connected internationally, we will continue to commission, co-create and champion work that speaks to resilience, struggle and collective imagination.”

Sarah Munro, Director of Baltic said: “We’re delighted to welcome Side as a cultural tenant in spring 2026. Photography is crucial to Baltic’s programme. Our audiences have been enthusiastic and visited in high numbers to exhibitions of photography by Chris Killip and Martin Parr to Franki Raffles, Joanne Coates and Phyllis Christopher. We want to represent the communities that live in the locale of the gallery and who visit Baltic frequently. Collaborating on these presentations will be exciting as we approach our twenty-fifth anniversary, and Side look to their 50th year. It is important that Side’s collection, its legacy and their future survive and thrive. In these challenging times it’s vital to find new ways of working together.”  

This new chapter coincides with a moment of reflection and renewal. In 2027, Side will mark 50 years since its establishment, while Baltic will celebrate its 25th year. Together they will create a platform where history and the present meet, where real people’s lives (from the North East and further afield) remain central to our region’s cultural spaces, and where documentary is made, seen and valued.

This announcement comes at the conclusion of the 'Transforming Amber' National Lottery Heritage Fund project, which set out to rethink how Side works and how the AmberSide Collection is shared. Over the past year, this project focused on strengthening the organisational foundations of Side, improving access to the AmberSide Collection (both digital and physical), and finding new ways to make it visible, relevant and active for more people than ever before. This announcement with Baltic marks the first stage of a wider programme shaped through this work from The AmberSide Trust.

Through The AmberSide Trust, the AmberSide Collection is secured and shall remain intact and accessible in the North East of England. Further announcements, including new opportunities for public access to the AmberSide Collection, will be shared across 2026.

 See: https://sidegallery.co.uk/blog/side-at-baltic and https://baltic.art/news-and-media/side-at-baltic/

Image: River Project: Quayside, 1971 © Sirkka-Liisa Konttinen | Courtesy of the AmberSide Collection

 Here is Paul Hill's article in Amateur Photographer about my Romney Marsh photographs exhibited in 2025 at Rye Art Gallery.

My film "Notes from a Landscape" which accompanied the exhibition can now be viewed on You Tube https://youtu.be/QVhZP05ByHc?si=dZFqmjY9rA4pvJxg 

In a new blog post researchers Giorgia Tolfo and Katherine Howells reflect on their recent project focusing on the metadata in the National Archives's photographic copyright collections (COPY1). They look at the opportunities and challenges of collaborative digital experimentation.

As a result of this copyright registration system, in COPY 1 there are over 133,000 individual entry forms containing this valuable and fascinating information. Crucially, through the hard work of volunteers over several years, the entry forms for the registration of photographs have been fully transcribed into Discovery, making this rich metadata available to researchers.

Since this metadata has been made available on Discovery, researchers have been able to search the information using keywords. However, for a long time we have recognised that the research potential of this information goes much deeper than enabling simple keyword searching. Through the wide range of digital methods of data analysis available to us now, there could be many more opportunities to use this metadata to illuminate historical trends, surface new and little-known stories and much more. To invite new perspectives on how we could maximise the potential of this metadata, we have now released the full dataset on GitHub. Researchers can download it freely and experiment with it.

Read the full blog post here: https://www.nationalarchives.gov.uk/blogs/research-projects/developing-an-enhanced-dataset-for-the-history-of-photography/

Images: COPY1 records for P H Emerson's Gathering Water Lillies / The National Archives, Kew

The Terra Nova, the ship immortalised by Herbert Ponting, has been filmed for the first time since it sank in 1943. The ship which was resdiscovered in 2012 carried Captain Scott's doomed polar expedition in 1912. The BBC's report used Ponting's images but failed to credit him, only the commercial picture libraries and collections housing his work. Ponting died in 1935 and his work is out of copyright, but deserves credit for creating images that retain their power today. 

See: https://www.bbc.co.uk/news/articles/cpwyvyqkx9yo

Image: Herbert G. Ponting, Terra Nova Icebound, 1912.     

The Photographic Materials Group is looking for four additional committee members to join our existing team with the purpose of expanding the group's scope and contribution to the field of photographic conservation. Specifically, we are looking for applications for the roles of Social Media Coordinator, Events Assistant, Administrative Assistant, and Treasurer to help us run annual events, advocate for the field, and grow our online presence.

If you have any questions you would like to discuss before applying, do not hesitate to reach out to the group’s Chair, Marta Garcia Celma: martagcelma@gmail.com. 

To apply, please send your expression of interest (max 300 words) and specify the role you would like to apply for to phmgicon@gmail.com. The deadline for applications is open until Sunday 25 May 2025.

Visit the Icon PhMG group updates page to find out more.

The annual Kraszna-Krausz Book Awards celebrate excellence in photography and moving image publishing. They recognise individuals who have made an outstanding or original contribution to the literature, art or practice of photography or the moving image. Two winning titles are selected: one in the field of photography and one in the field of the moving image. The author/s or editor/s of each winning book receive a £5,000 cash prize.

Submissions are welcome from publishers, authors, collectives and individuals self-publishing their work. There is no entry fee.

• Books must be published between 1 January and 31 December 2025
• Books must be published, distributed or available to buy (including online) in the UK

Further details, terms and conditions, and the entry form for the 2026 Awards can be found here.

Housed in the extraordinary spaces of Palazzo Grifoni Budini Gattai, which for years hosted the Photothek of the Kunsthistorisches Institut in Florenz, the exhibition offers a critical and engaging reading of Florence through photographs by Italian-German artist and filmmaker Armin Linke, in dialogue with historical documentary photographs from the Photothek. The exhibition explores archives, museums and collections where works of art, documents, materials and knowledge have sedimented, forming and transforming the image of the city of Florence. The exhibition will be accompanied by a concept book that should appear in January 2026.

Armin Linke: The City as Archive. Florence
Curated by Hannah Baader and Costanza Caraffa

An exhibition by the
Kunsthistorisches Institut in Florenz – Max-Planck-Institut

12 November 2025–31 January 2026

Holiday closure
22 December 2025–1 January 2026

Palazzo Grifoni Budini Gattai
Via dei Servi 51
50122 Florence

Opening hours
Thursday 14–20, Friday 14–19, Saturday 14–19

Free admission

Contact:
cityasarchive@khi.fi.it

More on the KHI website

Photographer Ans Westra had a long and rich relationship with the Alexander Turnbull Library, depositing her significant collection of documentary photographs over many years. Following her death on 26 February 2023 Turnbull staff members Mark Strange (Senior Conservator Photographs) and Paul Diamond (Curator Māori) reflected on her legacy. You can read their blog on the National Library of New Zealand website and browse Ans' digitised work.

Many other tributes were paid to Ans' by the photographic community and the arts and culture sector, including this blog by Athol McCredie (Curator of Photography at Te Papa Museum of New Zealand).  {Suite} Gallery are the agents for Ans' work, and their site includes more biographical information, examples of her extensive photographic legacy and a link to the recording of her funeral.

The W. W. Winter Heratige Triust (WWWHT) are looking for a Treasurer and new trustees to help build a sustainable future for one of Britain’s oldest photographic studios offering public and community benefit. We would welcome applications from those with skills and knowledge of accountancy, legal services, project management and fundraising.

We would also welcome applications from Derby’s local communities serviced by the studio.

ORGANISATION OVERVIEW:
Winter’s historic studio and archive of images will bring communities together, building a deep appreciation, locally and nationally, for Derby’s pioneering industrial and cultural heritage. Preserving past skills, whilst embracing the latest advances in photography to engage, inspire and foster creativity and human connection.

OBJECTIVES
• Preserve & Share – Digitally and physically safeguard Winter’s unparalleled photographic collection telling the story of Derby, its people, industries and culture, making it accessible to all, whilst ensuring that contemporary stories are preserved for tomorrow.
• Refurbish & Reimagine – Revitalise the world’s oldest purpose-built photographic studio, ensuring it remains an active, vibrant space evolving for future generations.
• Engage & Inspire – Use photography to bring communities together, spark creativity, and encourage cross-generational and cross-cultural storytelling.
• Innovate & Evolve – Embrace both historic and emerging technologies to explore the evolving role of photography in human connection and history.
• Sustain & Grow – Develop a sustainable future for Winter’s, where commercial photography services support our wider cultural, artistic, and educational activities.

ROLE DETAILS:
The Trustees share responsibility for the sustainable future of the Winter’s photographic studio and the development and delivery of engagement activities organised by WWWHT.
The Trustees also represent the organisation to a range of internal and external stakeholders, ensuring effective relationships within the community.
Trustees are expected to bring their own personal experience, knowledge and skills to the role to further the objectives of the WWWHT.
The Treasurer is also responsible for keeping records of and reporting on the WWWHT income and expenditure, both to board and to the Charity Commission.

TIME COMMITMENT:
6-8 hours a month

ATTENDANCE:
Monthly meetings – 2 hours online
Quarterly meetings – 4 hours in-person

ROLE DESCRIPTION:
Trustees are expected to attend board meetings and where appropriate sub groups working on specific tasks. They will also assist in the development of funding applications, activity plans and forward planning. Trustees also have an important role in raising the profile of the charity within their own communities and beyond. The role is likely to evolve in the future as WWWHT progress our objectives.

REQUIRED SKILLS AND EXPERIENCE:
Personal Qualities
• Friendly and approachable
• Clear communication skills, both written and verbal
• Happy to volunteer on evenings and weekends when required
• Enthusiasm or interest in photography
• An empathy with the needs of others

EDUCATION, EXPERIENCE AND KNOWLEDGE:
Previous trustee experience is not necessary, but a willingness to gain knowledge of charity law, good governance and operation relevant to WWWHT and it’s work is essential.

SKILLS:
Essential
• Good team working skills
• An ability to listen and understand multiple viewpoints
• Experience and knowledge of good accountancy practice (Treasurer only)

Desirable
• Knowledge of charity law and the implications of the Subsidy Control Act
• An understanding of Copyright law
• Experience of the development of a fundraising strategy and preparing grant applications
• Experience of project management
• Knowledge of Arts Council England and National Lottery Heritage Fund grant opportunities.
• Knowledge of connections to local Derby community groups
• Experience of completing annual reports and submitting them to the Charity Commission

 Closing Date: 31st October 2025

W. W. Winter Heritage Trust

To Apply or express an interest in this position please email – office@winterheritagetrust.org or phone 01332 345224 

Throughout September, I'll be blogging about a series of stereocards that I recently purchased as part of my ongoing research into the influence of 3D on early press photography.

The significance of the cards I'll be looking at is that they can be attributed to James Edward Ellam (1857-1920), an amateur stereographer from Yorkshire who enjoyed a successful career in London as a news agency photographer servicing Fleet Street.

He is best-known for his stereos for the Underwood & Underwood company of King Edward VII & Queen Alexandra in their Coronation robes, King Edward with his grandchildren at Balmoral (both in the National Portrait Gallery, London) and a set featuring Pope Pius X at the Vatican in Rome.

As I've obtained 30 of his amateur stereos, I thought I would write a blogpost-a-day this month about each of the cards.

In the process, I hope to shed further light on a period of James's career when he was making the transition, like other aspiring press photographers, from amateur to freelance/professional status.

You can follow the posts on my blog Click here

Credit: "The Cloisters, Durham Cathedral 1894" by J.E. Ellam.

I was wondering if anyone could shine a light on the history of this image of Fort Attock I accquied recently. A large print it bears a resemblance to photograph collection in the National Army Museum from Sergeant Poe, Somerset Light Infantry, 1880 (c)-1897. The hand writting is similar but slightly different as the Museum seems to have confirmed. The records are slightly sketchy regarding who was stationed here at the time, the only clue is the handwritten note saying "Commanded here 1885-86." 

Historically an interesting time line as a certain Richard Nugent Stoker was stationed as  Garrison Surgeon of Fort Attock Other than that, I have drawn a blank to who the person might be or the photographer might be. Of course, this is now the headquarters of the Pakistan Army (SSG), as a friend found out when he was arrested trying to cross the bridge.

Any information or ideas of where to research next would be most gratefully recieved 

Richard