Blogs

Peter Brunning has written a short biography of the London studio photographer Robert Hellis. The piece was published in the Friends of West Norwood Cemetery newsletter. The newsletter containing the article can be downloaded here: newsletter87.pdf. The same newsletter also contains an article on J H Pepper, of Pepper's ghost fame. 

BPH would like to thank Peter Brunning, Bob Flanagan and FOWNC for permission to make the newsletter available. 

UPDATE 28/10/2013: This event has been cancelled. 

On 5 December 2013 the Getty Conservation Institute is holding a one-day symposium Turning Over An Old Leaf: Thomas Wedgwood, Humphry Davy, and Their Early Experiments in Photography. 

The first published article on photography "An Account of a method of copying Paintings upon Glass, and of making Profiles, by the agency of Light upon Nitrate of Silver. Invented by T. Wedgwood, ESQ. With Observations by H. Davy" was published in 1802 by Humphry Davy in the Journals of the Royal Institution.

In his article, Davy described his and Thomas Wedgwood's pioneering work experimenting with light-sensitive materials, creating photographic copies of plant leaves, and testing the feasibility of creating "views from nature" using a camera obscura. Generations of photography historians have searched for any material sample of Wedgwood and Davy's experiments, as these photographic images, if found and authenticated, would be nearly a quarter of a century older than Niepce's "First Photograph."

In April 2008, a photographic image known as The Leaf was placed for auction. The image attracted a great deal of interest from photography experts and enthusiasts when questions were raised about its origins. The Leaf was subsequently removed from auction for further research.

Turning Over An Old Leaf will present results of recently completed scientific analyses by GCI scientists of The Leaf and results from analyses of two botanical images from the Getty Museum's collection that once belonged to the same album as The Leaf, an album of photographic images assembled by British watercolorist Henry Bright.

Conservation scientists and conservators from the Metropolitan Museum of Art will present results from their analytical study of Shark Egg Case, an image from their collection that was also part of the album assembled by Bright.

These scientific results and findings will be discussed in light of current advances in historical research of the Henry Bright album and in light of a series of experimental scientific, photographic, and recreational studies of the photographic work of Thomas Wedgwood and Humphry Davy as described in their 1802 article. In addition, demonstrations will be held to provide symposium participants with a deeper insight into photographic experiments from this important era of the prehistory of photography.

List of Scheduled Presenters

Geoffrey Batchen, Victoria University of Wellington, New Zealand

Roy Flukinger, Harry Ransom Center, University of Texas, Austin

Michael Gray, Image Research Associates, United Kingdom

Art Kaplan, Getty Conservation Institute, Los Angeles

Nora Kennedy, Metropolitan Museum of Art, New York

Jill Quasha, Private Photography Dealer, New York

Grant Romer, Independent historian of photography, Rochester

Larry J. Schaaf, Independent historian of photogrpahy, Baltimore

Dusan Stulik, Getty Conservation Institute, Los Angeles

Frances Terpak, Getty Research Institute, Los Angeles

For more information, contact oldleaf@getty.edu or see: https://www.getty.edu/conservation/publications_resources/public_programs/turning_over.html

Morphets of Harrogate is offering at an album of seventy albumen prints by Oscar Gustav Rejlander from the former estate of Surgeon Commander Herbert Ackland Browning RN on 11 September. The album is estimated at a modest £7000-10,000 and the complete album is to be re-created as a page turner pdf book on the Morphets website shortly, see:  www.morphets.co.uk. 

Details of the album are below: 

REJLANDER (OSCAR), AN ALBUM OF SEVENTY ALBUMEN PRINTS, CIRCA 1865-66

A rare and interesting folio of seventy portrait and figurative photographs by this pioneer, the albumen prints mounted on gilt-edged card leaves in a single volume with gilt and tooled black morocco bindings, the sitters including Rejlander himself, Mary Rejlander (nee Bull), Sir Henry Taylor, Hallam Tennyson (son of Lord Alfred Tennyson), John and Minnie Constable, the youngest of Lord Hawarden's children, possibly including Elphinstone 'Eppy' Maud and other unidentified subjects, album 30cm x 25cm, prints varying in size from 12cm oval up to 21cm x 15cm, some with titles or annotations in pencil. 

Provenance: This album was part of the estate of Surgeon Commander Herbert Ackland Browning RN and thence by descent to the vendor.  Commander Browning served throughout the First World War, never married and died at the family home in Dawlish in 1955.  Herbert's father, Captain George Browning RN, was a naval hydrographer and married Elizabeth (nee) Kendal, daughter of Dr Marsters Kendal of Kings Lynne, honorary surgeon to the Prince of Wales, later King Edward VII, at Sandringham.  It is possible that the album belonged to him and was thus lent to the Prince of Wales and others as annotations indicate. 

Footnote: Oscar Gustav Rejlander (1813-1875), known as the Father of Art Photography, was born in Sweden and studied art in Rome, settling in England in the 1840s.  He lived in Lincoln and later Wolverhampton, working as an artist and portrait miniaturist.  He took an active interest in photography, seeing its potential for assisting artists and in 1853 attended lessons in the London studio of Nicholas Henneman.  This inspired him to develop his own techniques experimenting with portraiture although it is his pioneering work in photo-montage, combining several negatives to form one image, that brought him to wider renown.   His best known work The Two Ways of Life comprised thirty-two negatives and took six weeks to produce.  Following its exhibition in Manchester in 1857 a copy was ordered by Queen Victoria for Prince Albert.  Rejlander became a member of the Royal Photographic Society, regularly lecturing and publishing on the subject and in 1862 he moved to London where he built a photographic studio designed to make the best use of natural light for his subjects.  During his work he came into contact with Julia Margaret Cameron, Charles Dodgson (aka Lewis Carroll), Lady Clementina (Maud) Hawarden and Charles Darwin.  In the early 1870s he worked with Darwin on illustrations for his treatise on The Expression of the Emotions in Man and Animals.

Although Rejlander sold volumes of his photography through book shops and art dealers it is unknown if the album in this lot was obtained thus by Captain Browning.  One pencil annotation suggests it may have been bought directly from the photographer as it reads 'Rejlander had refused to sell this copy (the only one obtained from the negative taken) at any price: but the offer of £2.2.0 for the Swedish poor was too much for his nerves and I obtained it DEO GRATIAS'.

A further annotation inside the front cover reads 'This album has the honour of being submitted in 1866 to HRH The Prince of Wales by Colonel Teesdale (3 weeks), in 1870 at the request of Cardinal Antorelli to HH Pope Pius IXth by Monsignor Pacca (1 week), into 1871 to Her Majesty by Lady Elgin (several weeks)'.  

Some of the prints herein are well known examples also held in the collections of the Royal Photographic Society, the Victoria and Albert Museum and the Metropolitan Museum of Art, New York.

For more information contact: Fran Hazlewood on 01423 530030 or email enquiries@morphets.co.uk.

Images: courtesy Morphets of Harrogate

The V&A holds a set of stunning 20x16-inch transparencies by Arthur H. Downes of models wearing African fashions.  The  transparencies seem to have been made in Manchester in the 1960s and one them is labelled 'Model from Warri No. 5'. Warri is a city in Nigeria and also the name of a Nigerian modelling agency.

They are part of the Royal Photographic Society Collection and Downes was president of the RPS 1986-1988.  He specialised in colour and began self-processing colour transparencies in the 1950s, including large-scale display transparencies such as these.

My colleagues and I are eager to uncover anything we can about these photographs: Why were they made?  Were they ever displayed or published?  Who were the models?  Where did the fashions come from?  Any information will be gratefully received!

BPH has learnt that Philip L Condax, former Curator of Technology at George Eastman House, died on Monday, 21 April 2014. Phil Condax was born on 24 May 1934, the son of Louis M Condax (1897-1961) and Constance W. Condax. Louis invented a dye-transfer colour process which was commercialised by Eastman Kodak Co in 1945. 

Phil joined the then International Museum of Photography at George Eastman House under Director Beaumont Newhall in 1971, where he curated the Technology Collections starting as 'Assistant Curator, Equipment Archive'. When the Philadelphia-based American Museum of Photography became available after the death of its founder, Louis Walton Sipley, Phil was involved with the then Director and other staff members in securing it for GEH where it filled important gaps. 

Two highlights from his career include the 1980-1981 exhibition Selections from the Spira Collection: An Exhibition at George Eastman House - the first time GEH had held such an exhibition from outside of its own collections; and the 1984 joint IMP/GEH and JCII exhibition The Evolution of the Japanese Camera which showed in Rochester, NY, and Tokyo. He was also in post when the new Mees Gallery - it has since been replaced - was opened in 1992. He attended Photokina regularly where he was able to source material for the GEH collections. 

When Czechoslovakia was firmly behind the Iron Curtain, Phil managed to visit regularly. There were suggestions that during his military service and afterwards he was working for the CIA. He came to know Jan Sudek and bought many important prints for the museum and for his own personal collection.

Condax, along with other senior curators, was made redundant in 1994, in his case over a dispute with the Director, a fact over which he continued to remain bitter. After GEH Phil undertook some museum and photo-history consultancy work, in particular he developed and curated the photographic collection of the Museum of Imagery Technology operated by Chulalongkorn University, Bangkok, Thailand. He co-authored The Photographic Flash: A Concise Illustrated History with Pierre Bron (of Bron Elektronik AG) in 1998.

Jonathan Spira commented: 'I am deeply saddened by the death of Phil Condax, a close family friend.  Not only did he help popularize photography's history but he helped lead the George Eastman House during a very tumultuous period.'

I met Condax several times at his Rochester home and despite a difficult relationship with a demanding father he was a great enthusiast for the work that his father had undertaken on colour. He maintained an extensive archive of his father's work. An example showing Louis Condax with an example of the dye transfer process, from Phil's personal archive is shown left.

He had an affection for Britain and he travelled extensively, particularly to South East Asia. 

Dr Michael Pritchard

• Revisions made 6/5/2014. 

Achievers will be among those honoured at the University of Derby's annual Awards Ceremonies taking place on 15-17 January 2014. The University will honour people who've risen to the heights of their profession and will join more than 4,000 students graduating in degree, postgraduate and other higher education courses. Amongst those to be recognised is Emeritus Professor Roger Taylor, the UK's most respected photographic historian. 

Roger Taylor becomes an Honorary Doctor of Fine Art - Author of numerous books, exhibitions, and web databases, Roger is known internationally as a historian of mid-19th century British photography. For almost 60 years photography has been the centre of his working life; as a practitioner, teacher, curator and academic. His career began as apprentice to a leading Manchester commercial and industrial photographer, changing direction after a full-time course (1965-7) at Derby College of Art (later to become part of the University of Derby). After 18 years' teaching at Sheffield Polytechnic, Roger was appointed the National Museum of Photography's Senior Curator of Photography. From 1995 he entered his career's most productive phase, as an independent curator creating exhibitions for leading American museums.

See: http://www.derby.ac.uk/news/lights-camera-and-action-experts-to-be-university-honoraries

In a message to friends and colleagues Dr Catherine Troiano has announced that she has re-joined the V&A Museum, London, as Curator of Photography, with a focus on contemporary and digital practices. She was previously the National Trust's inaugural Curator, Photography. That role has been filled by Anna Sparham. 

She was at the V&A Museum as an assistant curator from 2015-2018 and then Curator, Photographs from September 2018.  She completed her PhD at De Montfort University's Photographic History Research Centre. 

Catherine's 2019 appointment at the Trust was announced here: https://britishphotohistory.ning.com/profiles/blogs/national-trust-appoints-troiano-as-national-photography-curator in 2019. 

The amateur photography of Rupert Potter, father of the celebrated children’s book author and illustrator, Beatrix Potter, will be explored in a new display opening at the National Portrait Gallery to celebrate the centenary of his death. As well as two new acquisitions showing Beatrix Potter on holiday with her father, The World of Rupert Potter: Photographs of Beatrix, Millais and Friends will display portraits taken by Rupert Potter of close family friends, showing the circles within which he socialised and the influence this had on his daughter’s life and work.

A professional lawyer and a keen photographer in his personal time, Rupert Potter (1832–1914) took many carefully posed portraits, particularly during the Potters’ lengthy summer holidays in the Lake District and Scotland, which show his impressive technical skill and aesthetic ability. He was a member of the Photographic Society, later the Royal Photographic Society from 1867 until 1912. As a result of his particular interest in portrait photography and, through his friendship with the painter Sir John Everett Millais, Potter began taking photographs of Millais’ sitters and paintings. Millais rated Potter's photographs so highly that he often used them to assist his working process, such as for his ‘Rosebery’ portrait of William E Gladstone, the second of his four paintings of the Prime Minister.

Beatrix Potter’s journals from the 1880s and 1890s vividly reveal the influence of her exposure to the art world and the life of a working artist before becoming one herself. She later used photography to aid her work, learning with one of her father’s old cameras. With their mutual interests in art and photography, father and daughter enjoyed a close relationship and despite their closeness being tested in later years,

Rupert was a significant influence in Beatrix's development as an artist and writer. Large numbers of Potter’s photographs survive in several collections, with the earliest dating to the 1860s. The World of Rupert Potter: Photographs of Beatrix, Millais and Friends will feature a carefully selected range of Potter’s photographs from the National Portrait Gallery’s extensive collection of his works, some of which were directly donated to the Gallery by Potter during his lifetime. A larger set of 186 photographs relating to his work for Millais was given to the Gallery by Jack Edward Ladeveze, currently Trustee of the Enid Linder Foundation, in 1993.

Two new acquisitions will be on display for the first time, which show Beatrix Potter on family holidays at two different points in her life. The first of these was taken in 1894, with her father and brother, before she became a published author. The Potter family enjoyed frequent holidays in Scotland and the Lake District, which provided the siblings with the opportunity to explore the surrounding countryside and indulge their interest in animals and natural history, and inspired the illustrated children's books for which Beatrix became famous. The second new acquisition was taken in the Lake District in 1906, by which point Beatrix had published eight books, and shows her with the Potters’ family friend, Hardwicke Rawnsley. Rawnsley encouraged Beatrix in her literary ambitions, and as co-founder of the National Trust, his conservationist views deeply influenced Beatrix, which led to her future contributions to the Trust.

Other portraits on display will include photographs of the painter Sir John Everett Millais in his studio with unfinished paintings as well as portraits of sitters used by Millais for his paintings, including his daughter Effie and statesman John Bright. Constantia Nicolaides, Photographs Cataloguer, National Portrait Gallery, says: ‘Rupert Potter was taking photographs at a time when the medium was still very technically demanding, so that the proliferation of his images to be found in various collections today is astounding. Meanwhile, his subjects are of great historical interest, and we are thrilled to add these two self-portraits, also showing his talented daughter Beatrix, to our existing collection of his photographs of distinguished Victorian figures at leisure, and his work for Millais. This display will provide an opportunity to see fine examples of these.'

Images: 

Top: Sir John Everett Millais, 1st Bt in his studio at 2 Palace Gate, Kensington by Rupert Potter, July 1886 © National Portrait Gallery, London

Above: Rupert Potter, Beatrix Potter and Bertram Potter in Lennel, Coldstream by Rupert Potter, 1894 © National Portrait Gallery, London

For further information, please visit www.npg.org.uk and http://www.npg.org.uk/whatson/display/2014/the-world-of-rupert-potter-photographs-of-beatrix-millais-and-friends.php

The World of Rupert Potter: Photographs of Beatrix, Millais and Friends, Room 28, 13 May-16 November 2014, at the National Portrait Gallery, London. Admission Free

It seems that the camera my grandfather gave to me only a few month ago is about to mean more to me than a camera ever should. It is a second model Leica and it used to belong to my great grandfather, Alexander Wienerberger.  The photographs he took on this camera were not only published but are said to be the only verified images to come out of Ukraine during the man-made famine of 1932-33, named Holodomor and reported as killing up to 10 million people.

Now this is of great interest to me as I am about to go into my final year of my Fine Art Photography Degree.  Normally this is not my area, I lean more towards the experimental and scientific but I cannot let this amazing opportunity pass me by.  This means starting my research from scratch, so I will apologise in advance for my initial naivety on the sensitive yet personal subject I am about to embark on.

Something I already know:

1. There was talk on wiki about the copy right to my great grandfathers images, I believe if the author dies before 1955 then the copyright would no longer exist however in true style my great grandfather died 5th Jan 1955, meaning (I think as the law is so hard to decipher) that the copy right is still in place for all of his work.

2. Alexander spent some years as a political prisoner of war and in total spent 19 years in Ukraine, the reason he was not killed was due to his knowledge of explosives but to what extent he helped is unknown at the moment.

3. He published Hart auf Hart in Germany 1939 and had work published in other books around the same period (all work in German unless translated and released later)

This is interesting due to his connection to Germany at this time.

What next?

I am in the process of receiving some of his unpublished work that will need translating from German.  I am in the process of planning a trip to Austria (where he was born and his images are archived in the main library) Germany (where his books and images are archived in the main library.  I will look at getting the camera serviced at by the main Leica office but I imagine this is just a dream that could never happen) and Ukraine (to use his camera once again to document the change over the past 79 years.) This will not be done till the end of the year and has many financial hurdles to overcome.

The final aim is to publish a piece of work that not only highlights Holodomor but expresses who my great grandfather was and how important he was in proving Holodomor actually happened.

According to the Yorkshire Film Archive, the magic lantern manufacturer, Riley Brothers, operated out of 55 & 57 Godwin Street, Bradford. They produced a machine called the Kineoptoscope in 1896 using a design patented by Cecil Wray.  This was advertised at the time in The Era as, 'Steady as Lumière's. No breakdowns. Most portable and the most perfect known'.  This was modified into the Kineoptoscope camera in June 1897, and it may be this which is being used in this film. The Riley Brothers put on the first cinema performance in Bradford at the People’s Palace on 6th April 1896, now the site of the National Media Museum.

Hundred of images of old Ireland and the globe-trotting adventures of affluent West Cork Methodists are among the subjects in an extraordinary collection of 19th century photography recently discovered in a house clearance. This also includes an important late 19th century magic lantern made by The Riley Bros of Bradford.

With an estimate of €1,500-€2,500, details of tomorrow's auction in Cork can be found here.

Well, that's what one contemporary critic called  Pierre Yves-Petit (1886-1969), who went by the name of Yvon.

This is because no other images of Paris are better captured than those by him. Petit came of age with the picture postcard, which was introduced in 1870 and flourished in the final decades of the 19th century with the completion of the Eiffel Tower. Although his images are instantly recognisable, it was only this year that Petit began to gain recognition as more than a producer of souvenir images.

Robert Stevens, who spend years researching the history behind Petit's work, has compiled a collection of his images in a book entitled 'Yvon's Paris' which can be found on the Amazon link on the right. Alternatively, you can have a quick glance on the inside of this hardcover here.

Details of an exhibition showcasing come of Yvon's images can be found here, as well as a selection of the prints here. 

Photo: Yvon, Notre Dame, c 1920s, vintage gelatin silver print; 3 1/2 x 5 1/8 inches

This conference explores the multifaceted history and cultural significance of flash photography. Flash, introduced in the 1860s, has played a crucial role in photography, making previously unseen scenes visible, from the nocturnal lives of animals to the bustling nights of New York City. There is a keynote presentation from Dr Sara Dominici. 

This conference aims to move beyond a purely technical narrative of flash as merely a tool for overcoming darkness. Instead, it seeks to understand flash as a socio-technical device that shapes photographic practice and cultural perceptions. Flash photography, from early magnesium bursts to modern electric strobes, not only illuminates scenes but also influences the photographic event itself. The noise, smoke, and sudden light of early flashes contributed to the dynamic nature of photo shoots, impacting both photographers and subjects.

This conference will investigate the diverse dimensions of flash, including its aesthetic, cultural, and media implications. The performative nature of flash and its role in capturing rapid motion, filling in light, and creating new visualities will be discussed. Flash has been both embraced and rejected by photographers, creating boundaries between art and non-art. Its use has marked significant moments in the history of photography, contributing to genres like celebrity and wildlife photography.

Moreover, flash photography has served as a metaphor in literature and theory, symbolizing revelation and memory. It has been linked to powerful narratives, such as those documenting social injustices. Despite technological advancements reducing the need for flash, its historical and cultural impacts remain significant. The conference invites discussions on the flash’s role in photographic history, its cultural and social uses, and its ongoing relevance in contemporary visual regimes.

Blind by Light: Just to see: Flashes and Revelations
17-18 October 2024
Paris, Bibliothèque nationale de France, Richelieu
See the programme and register here

In a new 3D documentary commissioned for Sky 3D, Brian May’s Brief History of 3D takes the viewer on a fascinating journey from the gentle 3D of the Victorian era to the extreme out-of-the-screen 3D of the 1980s. The documentary will be screened on Sky 3D on 7 July 2011.

3D has endured a long bumpy journey. From William Friese Greene simply walking along a Hyde Park pathway in an 1893 3D short to Johnny Depp’s swashbuckling antics in Pirates of the Caribbean IV in 2011, 3D has come and gone several times. Some pundits are arguing that the current 3D era is already coming to an end, pointing to slowing 3D ticket sales; others are saying that there is no going back now and that, for the first time, technology and economics finally make 3D a viable form of mainstream entertainment.

Over the last 100 years, the 3D industry has been scattered with various attempts to lure audiences back into the movie theatres. It is this story that Brian May, ex-guitarist of rock band Queen, explores in the Sky 3D’s latest documentary commission, Brian May’s Brief History of 3D, scheduled for broadcast July 7th.

Not only is Brian May a qualified astro physicist, he is also a passionate advocate of stereoscopic 3D, particularly Victorian 3D of which he has accumulated a substantial collection of Victorian 3D memorabilia over the past forty years. Brian May’s lifelong 3D interest has materialised into a book, A Village Lost and Found, published in 2009. The book includes a proprietary 3D viewer known as the OWL, which brings the book’s 2D images into 3D life and was actually designed by Brian May himself.

Produced by Bigger Pictures in conjunction with Widescreen Productions ,who also produced Britain from the Sky 3D series, (which is currently being broadcast every Thursday on Sky 3D) Brian May’s 3D documentary is a genuinely fascinating look into stereo 3D right from the very early days of Victorian stereoscopic filming to the digital 3D of today. Clips include the insane film “Coming At Ya!” a 1980’s western film that, as you can probably guess from the title, used 3D as its main selling point with nearly every sequence featuring action jumping out of the screen. This is so rarely seen in today’s 3D movies and television shows. Yes, it is gimmicky, but still really fun now and again.

For more click here: http://www.3dfocus.co.uk/3dtv/brian-mays-brief-history-of-3d-review-sky-3d/4196

The British Library’s Talbot Collection comprises a major archive of correspondence, notebooks, photographs and other material relating to the life and work of the British inventor of photography William Henry Fox Talbot (1800-1877). This was formerly held at Talbot’s family home at Lacock Abbey in Wiltshire and was presented to the British Library in 2006 by Petronella and Janet Burnett-Brown. These collections illustrate the breadth of Talbot’s cultural and scientific interests and achievements, in fields as diverse as mathematics, botany, astronomy and the decipherment of Assyrian cuneiform.

The photographic component of the collection comprises approximately 1,500 papers negatives and prints by Talbot and his circle made between 1839 and the mid-1840s. In addition to Talbot’s own photographs, the collection includes important work from the 1840s by contemporaries such as Rev Calvert Richard Jones (1804-1877) and Rev George Wilson Bridges (1788-1863). There is also a small collection of daguerreotypes which includes portraits of Talbot, his children and his manservant and assistant Nicolaas Henneman (1813-1898). This material is complemented by albums of drawings and prints by members of Talbot’s family.

While the William Henry Fox Talbot Catalogue Raisonne Project brought the wider holdings of Talbot and his wider together on a single platform, the individual paper negatives and prints held in the British Library's collection are now digitally accessible through the Explore Archives and Manuscript online catalogue (select digital object). These can be magnified and downloaded under the Creative Commons Public Domain license. 

For direct links to the Talbot Collection through the Explore Archives and Manuscripts catalogue or the Universal Viewer:

Talbot Photo 1: Talbot Collection: Negatives. Photographer: William Henry Fox Talbot, Nicolaas Henneman, Calvert Richard Jones, George Wilson Bridges and others - please note that the individual images can be accessed through the individual record (359 images)

Talbot Photo 2: Talbot Collection: Prints. Photographer(s): Talbot, William Henry Fox (759 images)

Talbot Photo 3: Talbot Collection: Stabilised Prints. Photographer(s): Talbot, William Henry Fox (188 images) 

Talbot Photo 4: Talbot Collection: Daguerreotypes and glass plates. Photographer(s): Beard, Richard and Antoine Claudet (15 items)

Talbot Photo 7: The Talbot Collection: The Pencil of Nature, Part 3. Photographer(s): Talbot, William Henry Fox

Talbot Photo 8: The Talbot Collection: The Pencil of Nature, Part 3. Photographer(s): Talbot, William Henry Fox 

Talbot Photo 9: The Talbot Collection: The Pencil of Nature, Part 4. Photographer(s): Talbot, William Henry Fox

British Library Talbot Photo 1(1) Articles of china. Photographer: William Henry Fox Talbot (bl.uk)

As more of digitised photographic collections are made available through Explore Archives and Manuscripts, we will share updates when possible. 

 Ramires, Alexandre (2014) The Voyage of the Daguerreotype. On the Daguerreotypes and Physionotypes of the Oriental Hydrographe, Coimbra: author's edition. This text provides documental support for the first daguerreotype experience in Portugal, in October 1939, and the probable daguerreotype practice in islands of Madeira and Canarias latter in the same month. It also provides further documental evidence of the daguerreotype practice in Brasil.

For copies of the book we will provide the author's contact.