Blogs

The  Tyne & Wear Archives & Museums have recently published on-line what is thought to be the last surviving album of Victorian criminal photographs from the Newcastle area, ranging from ragamuffin children to the elderly and infirm, of all ages.

These sepia images, to help with the identification of criminal classes and to support theories about criminal physiology, were taken at the Newcastle City Gaol and House of Correction Collection between December 1871 and December 1873. The youngest of the criminals was 11 year old, Ellen Woodman, who was caught stealing iron and given 7 days hard labour.

You can view them on their flickr account here, or there is a book published a few years ago entitled Victorian Villains, by Barry Redfern, which gives further information on the individuals who were convicted. If interested, you can purchase the book using the Amazon link on the right. 

My name is Matthew Broadhead, an artist and photographer based in southwest England. At present, I am enrolled on the new MA Photography program at UWE Bristol with course leaders Aaron Schuman and Angus Fraser, due to graduate in 2019. 

The project I am working on investigates the life and practice of my third-great grandfather, Frederick William Broadhead, commonly abbreviated as F. W. Broadhead. In the context of my studies I am primarily working with the Belvoir Castle estate to record the interior and exterior of the building as my ancestor did, and explore the area photographically. This will culminate in an exhibition next season in 2019 and the same results will also been seen in my final MA exhibition at the Martin Parr Foundation in Bristol. 

Whilst I am looking for any photographs and information connecting F. W. Broadhead and the Belvoir Castle estate, I am also interested in the same about any area of his life's occupation. 

In my own collection and archive, I have around 200 examples of photographs from his studio, along with comprehensive newspaper records such as stories and advertisements in connection with his business. Original advertisements featured in business directories are also present along with reproductions from the Wigston Record Office and former clients of F. W. Broadhead.

One purpose of this request is to establish whether there are any F. W. Broadhead examples in the private collections of the membership on this site, and to possibly collaborate on aspects of my long-term project. As a practitioner in the field myself, it is of great personal interest and investment to learn more about my own heritage but share my findings back into the field of photo-history in the form of exhibitions, talks, and publications. 

My website is www.matthewbroadhead.com and I can be contacted on my mobile at 07554 879388 or info@matthewbroadhead.com

Please see below a close up of a money order with his studio address at 55 Welford Road, Leicester

I am looking for information on the German born industrial photographer Adolf (sometimes Adolph) Morath who worked extensively for British Petroleum and the Kuwaiti Oil Company in the mid-20th century, photographing oil workers, their daily life and the company facilities in Kuwait and other places. Despite his huge portfolio, there seems to be hardly any information on Morath. I would be very thankful for any information, material or recommendation where to look.

Many of us will be familiar with Roger Fenton’s much reproduced photograph of his photographic van, which features Marcus Sparling, his chief assistant the Crimea, sitting on the box seat (see right). The left side of the van also appears in Fenton’s group portrait of cavalry personnel in the image entitled Cooking House, 8^th Hussars. Recently, the van has been discovered in another three of his images, which like Cooking House, 8^th Hussars, were taken in the spring of 1855 in the cavalry camp located in a valley just to the west of the settlement of Kadikoi about a mile north of the British supply port of Balaklava.

Fenton's van can be identified from the positions of its windows, the words ‘Photographic Van’ painted on its sides and from the shape of what seems likely to have been a bent awning-frame over the roof at its front (see right). During a detailed study of Fenton’s Crimean photographs, the van was found in those entitled Military Camp, Camp of the 5^th Dragoon Guards, looking towards Kadikoi and Camp of the 5^th Dragoon Guards. The two latter images were taken at the same time and form an overlapping panorama with the van appearing just to the right of centre in Camp of the 5^th Dragoon Guards, looking towards Kadikoi and on the left in Camp of the 5^th Dragoon Guards. Both images were shown next to each other as Nos 62 and 63 in Fenton’s Crimean War exhibition in London in 1855. An error has been noticed in the title of Camp of the 5^th Dragoon Guards, looking towards Kadikoi. The view actually looks west up the valley and not east down the valley in the direction of Kadikoi. Military Camp was not exhibited in London most likely because a section of the plate left of centre was spoilt.

Magnifications of the parts of Military Camp and Camp of the 5^th Dragoon Guards, looking towards Kadikoi which show the van are reproduced below (see right and lower right respectively).

The location of the van in Military Camp is on the grass divide that separated the camps of regiments of the Light Brigade  from those of most regiments of the Heavy Brigade of Cavalry. The line of three tents belonging to the Light Brigade seen closer to the camera to the left of the van appears in the background of many of Fenton's portraits taken in the cavalry camp. Images made in the vicinity of the van at this location are entitled Brigadier-General Lord George Paget; Lieutenant-General The Honourable Sir James Yorke Scarlett, K.C.B; Cornet Wilkin, 11^th Hussars; Lieutenant King, 4^th Light Dragoons; Captain Portal, 4^th Light Dragoons, equipped for Balaklava; The Pocket Pistol; Chasseurs d’Afrique Officer and Major Morris, C.B., Royal Artillery.

In the Camp of the 5^th Dragoon Guards, looking towards Kadikoi and Camp of the 5th Dragoons, the van is partly obscured. Only the front of the van can be seen protruding from behind a dark coloured hut. In the area between the van and the camera, Fenton is believed to have taken his portraits entitled Major Burton, 5^th Dragoon Guards and Captain Bernand, 5^th Dragoon Guards. Another mistake in an image title was made here as the latter’s name was actual spelt ‘Burnand’.

The 5th Dragoon Guards were in the Heavy Brigade. The huts and tents in the background (see right), which lie across the grass divide that separated the camps of the Heavy and the Light Brigade, belong to the 8^th Hussars. The stretch of grass in view is lower down than the same slope seen behind the van in Military Camp. Fenton took portraits entitled Colonel Clarke, Scots’ Greys, with the Horse wounded at Balaklava; Mr Angel, Postmaster; Captain Seymour, 68^th Light Infantry; Captain Inglis, 5^th Dragoon Guards; Colonel Shewell, Light Cavalry; Colonel Doherty and the Officers of the 13^th Light Dragoons and others a little further up this slope to the left.

More information on Fenton's van can be found in an article entitled ‘Roger Fenton’s Photographic Van’ in The War Correspondent 36 (3), pp. 24-30 (March 2019).

Amy Mayhew has been appointed Project Manager for the five-year digitisation project of the Royal Photographic Society (RPS) Collection at the V&A Museum. The job was advertised earlier this year as a five-year fixed-term contract. 

Amy joins the V&A from the British Film Institute where she spent over eleven years in various roles. Latterly she specialised in the management and delivery of large-scale digital access cultural heritage projects. Previous work includes the digitisation of film, videotape, and stills collections, as well as 35mm film printing, the Film on Film Festival, and Britain on Film.  She has a Masters in World Cinema from Birkbeck. 

The new role is to plan, budget, monitor, report on and drive forward the RPS Digitisation Project. The V&A's stewardship of the RPS Collection is at an inflexion point and the digitisation will start with the RPS photographs ultimately making them available online with full catalogue descriptions. Detailed plans are still being determined but the work may extend into some of the archival material and, perhaps, the technology colllection later in the project. 

The V&A is assembling a team to support the initiative and two new archivist and cataloguing jobs are currently open. The project will also be making use of volunteers to bring specialist and practical skills to the project.  

Image: courtesy of Amy Mayhew

We are happy to announce that The Papers of William Henry Fox Talbot are now searchable online in the British Library catalogue.To search the collection, go to the British Library's online catalogue‎ and search for 

William Henry Fox Talbot or Add MS 88942 : 1647-1952

(first click on "details" and then on "see contents" on the right).

The Talbot Papers were donated to the British Library by the Talbot family in 2005. A subsequent loan collection of further material came to the British Library from the family in 2008. The collection is significant in both scope and scholarly integrity: The papers contain notebooks, letters, photographs, diaries, unbound Assyriological and mathematical folios, natural specimens in herbaria, offprints of Talbot’s articles, patents, artefacts and a small selection of books from Talbot’s library. Whilst the covering dates of the collection are 1647-1952, most of the material is from Talbot's lifetime. The Talbot collection as a whole is still in the process being catalogued. To date, the first series, Talbot's notebooks Add MS 88942/1, has been completed and is already available to readers. The extent recorded online (348 folders) thus refers to this first Series and will be revised accordingly as the cataloguing project progresses.

The photographs in this collection are catalogued separately in the British Library Catalogue of Photographs.

Talbot's correspondence had already been calendared and transcribed by The Correspondence of William Henry Fox Talbot Project.

Regarding the wider archive, several photographic notebooks and thousands of important prints (originating in a donation to the Science Museum by Talbot's grand-daughter) are held at the National Media Museum, Bradford and a smaller part of the archive is currently in the process of being acquired by the Bodleian Library or held in several public and private collections. The library of the Talbot family remains partly at the National Trust Property at Lacock Abbey. The archive of the Talbot family and Lacock Abbey is held on deposit at the Wiltshire County Record Office.

Former Identifiers: Deposit 10690

For an overview of the collection, see also

William Henry Fox Talbot: Beyond Photography (Yale University Press 2013)

As in past years BPH is able to report the latest Association of Leading Visitor Attractions visitor numbers survey (see: http://www.alva.org.uk/details.cfm?p=423&year=2011). The National Media Museum, Bradford, saw visitors of 446,668 a fall of 7.6% compared to 2010.

In summary recent visitor numbers for the museum have been: 

2011 - 486,668

2010 - 526,914

2009 - 613,923

The National Museum of Science and Industry's Annual Report for 2011 reports an attendance for 2010-11 of 502,000 visitors, 19% down against 2009–10 and 25% lower than the five-year average. The Report comments: 'The reduction was mainly due to a big drop in people watching full-length IMAX films (partly because of the films available but also because there was a month-long closure of IMAX following the discovery of a leaking roof), continuing disruption in the city centre with the construction of a new city centre park and some exceptionally warm weather in the spring. However, it also brings into sharp relief the need to make improvements to the day-today programme and to accelerate the refreshing of galleries.' See: http://www.official-documents.gov.uk/document/hc1012/hc12/1238/1238.pdf

The numbers for 2012 should see an improvement with the opening of the Life Online gallery and more accessible and critically acclaimed exhibitions notably In the Blink of an Eye (extended until 14 October 2012). In addition the issues cited as reasons for the decline over 2010-11 have all been resolved.

The decline in visitor numbers suggests that the new Head of museum with her senior management team will need to focus on the Bradford site as well as the new London Media Space presence which is due to open in March 2013.

On the retirement of Professor Elizabeth Edwards, applications are invited for the full-time, permanent post of Professor of Photographic History, based within the School of Humanities.

The successful candidate will be appointed as the Director of the Photographic History Research Centre which was established in 2010 and is already widely acknowledged as a world-leading centre for the interdisciplinary study of the history of photography in all its aspects. He or she will also be expected to contribute to the broader development of History and of Photography as subjects at De Montfort.

Applicants should have an international scholarly and/or curatorial reputation in one or more fields of photographic history, an outstanding publication record, and be able to demonstrate experience of research leadership and funding development.

Closing date 18 September 2015 / Interviews: mid-October 2015

See the full specification and job description here

As the 100th anniversary of the Armistice is looming I am asking for help to contact any living relatives of former Daily Mirror photographers who served in WW1 or worked for the paper in the UK during the conflict. 

I am particular interested in Bernard, Thomas and Horace Grant  who had all covered conflicts around the world before the outbreak of the Great War.

Other photographers of interest are David McLellan, Ivor Castle, Ernest Brooks and William Rider Rider official photographer with the Canadians. William after the war joined the Mirror and became our chief picture editor during WWII 

These men served the Paper and their Country by recording the horrors of war only armed with their camera's. I would like to encourage the paper to recognise the service these men gave by telling their stories in their words.

Belgian soldiers resting after being pushed back by the advancing German Army. August 1914 - Bernard Grant 

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 world's two oldest photographic periodicals have announced their digitisation. The Royal Photographic Society's Photographic Journal, which dates from March 1853 and the British Journal of Photography which dates from January 1854 will be made available in digital forms to researchers and the public. Both publications have been published continuously since their first issue.

BPH understands that The RPS has already completed digitisation of its Journal from 1853 to 2012 and that it will be made available in a searchable form with the launch of The Society's new website in January 2014. The project has been funded through the generosity of a RPS member. The BJP has announced its own digitisation in its January 2014 issue (BJP, January 2014, p. 98) which stated that 'throughout 2014 and beyond, we will be digitising BJP's entire archive'. Its intent 'is to make [it] available to our readers, as well as historians, professors and researchers worldwide'. It is not reported whether access will be charged for. The RPS will make access available to the public without charge.

Commenting on the RPS digitisation to BPH The Society stated: "During a scoping exercise it became apparent how rare runs of the RPS Journal were and digitisation would both preserve the content and make it far more widely available to everyone from photographic historians, to family historians. The Royal Photographic Society was at the forefront of developments in the artistic and scientific development of photography and these were reported and discussed in the Journal. For much of its history the RPS Journal was read and had an influence far beyond its membership. The Society has always been an important body within British and international photography and the Society’s Journal is unique in its longevity". The ability to access the Journal which has never been previously made available in this way will allow The Society's role, that of its members and wider British photography over 160+ years to be studied as never before.

BPH will carry more on both projects as information becomes available. To contact The RPS about it's digitisation email: director@rps.org

With thanks to Bob Gates ARPS. 

Showcasing works from the 19th and 20th centuries, Bloom..away explores the different ways in which photographers have chosen to document plants with their cameras. The exhibition is the first from the Sarah Wheeler Gallery. 

Two large format cyanotypes of ferns - the blueprint process used to such good effect by Anna Atkins - will be displayed alongside images by masters of the medium including Charles Jones, Karl Blossfeldt, Man Ray, Adolf de Meyer, Heinrich Kuhn and Albert Renger-Patzsch.

Whilst works from the 19th century such as those by Adolph Braun and Charles Aubry emulate the tradition of botanical illustration and pictorialism, Blossfeldt, Renger-Patzsch and Jones celebrate the unique mechanical nature of the camera by creating strikingly modern images of plants, in a clear, apparently objective matter - making them prime examples of the German New Objectivity movement.

Opening to the public on 10 June  Bloom...away - an exhibition of early botanical photography from 1850s to 1960s will run until June 19th at The Studio, 73 Glebe Place, London, SW3 5JB with a fully illustrated catalogue. The exhibition is open Monday to Friday, 10am - 6pm and by appointment over the weekend.

Bloom...away. An exhibition of early botanical photography from 1850s to 1960s

10th June - 19th June 2019
The Studio, 73 Glebe Place, London, SW3 5JB

For further information please contact: Sarah at Sarah Wheeler Gallery, t: 07932 735829

e: sarah@sarahwheelergallery.com

Image: Charles Jones (1866-1959), Hyacinth, Single Red, c.1900. Gold-toned gelatin silver print on printing out paper.

After more than 150 years the British Journal of Photography is to cease weekly publication and will return to being a monthly. Established in 1854 as a monthly, the BJ went fortnightly in 1857 and then weekly in 1864. The 3 March 2010 issue will be the first of a redsigned monthly magazine. The move leaves Amateur Photographer (established 1884) as the only weekly British photographic magazine.

Changing market conditions and the growth of the internet have precipitated the change. The BJ has a strong web and blog presence but for the last few years its influence within photography has declined as it has focused more on press, fashion and the image, moving away from a more general concern with photography. It's heyday was probably during the 1980s when a range of contributors under the editorship of Geoffrey Crawley kept readers informed about everything from holography and history, to interviews with business personalities as well as photographers. It's worth quoting one of the aims of the journal from issue no. 1 of January 14 1854: 'The admirers of the art naturally desire to have more particulars, and the practical operators more full and precise records of the suggestions, experiments, and successes in various parts of the world' by the end of 1854 it was able to be claim that it held 'the position of principal Provincial organ of Photography'.

The change is the end of an era for the British photographic press. For most of its history the BJP was always the most important journal of photography reporting news and features across the full spectrum of photography. It is sad that has now ended.

Read nore here: http://www.bjp-online.com/public/showPage.html?page=873499

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

Bearnes are selling an early photograph album (lot 380) in a three-day sale across 29-31 January 2013 dating to the 1850s which includes a rare image of Roger Fenton taken by Eastham of Manchester. The lot is described as: Colonel Edmund Gilling Hallewell’s Photographic Album and is a mixed photographic album of the 1850s and 1860s, elephant folio, lacking front board and some leaves. Lots 381 and 382 are also photograph lots.

The relationship between Hallewell and Fenton is noted in lot 379 http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615481 and a discussion here on the wider content: http://www.bhandl.co.uk/news/2012/12/10/roger-fenton-photographs-col-edmund-gilling-hallewell-auction.aspx

Notable images in lot 380 include: 

Colonel Hallewell DCMG, Malta, 1863. Portrait in full dress uniform. Titled in pencil below the image. Albumen print, 19.8 x 15.7cm (illustrated page 89).

Sir George Brown and a portion of the Light Division Staff, a nine-man group portrait in civilian attire. (A soldier since 1806, Brown commanded the Light Division throughout the Crimean War). Albumen print, 24 x 29.5cm. (illustrated opposite).

Bolton Abbey, the ruins of the cloister. An untitled large-scale salt print 26.5 x 37.5cm., from a paper negative (illustrated opposite).

Near Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 18 x 25.5cm.

The Strid, Bolton. Titled in pencil below the image. Salt print, 20.8 x 29cm.

At Bolton Abbey, a woodland scene. Titled in pencil below the image. Salt print, 24 x 19cm.

Gibraltar General view of town. Titled in pencil below the image. 2-plate panorama 20 x 45.5cm., Albumen prints.

At Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 26 x 36.5cm (illustrated opposite).

Bolton Abbey, Yorks, ruins of the priory. Titled in pencil below the image. Albumen print, 26.5 x 35.5cm. into rounded corners (illustrated opposite).

Road at the back of the Hall, Bolton. Titled in pencil below the image. Albumen print, 29 x 36 cm., into arched corners (illustrated opposite).

The album also contains over 120 other mainly albumen prints, but including a small number of salt prints (including further images of Bolton Abbey and its environs), varying sizes up to 30 x 24cm. Assorted images by amateur and commercial photographers, including Francis Bedford and James Robertson; subject matter being a variety of topographical, portrait and other subjects, (including Robertson: the Crimean war) and various locations in UK, Malta, Gibraltar and the Mediterranean.

In addition, approximately 200 cartes de visite of British and European royalty, family, topographical, army officers various, Crimean war generals, etc., and a rare image of a white- bearded Roger Fenton c.1865. For a variant of this portrait by John Eastham of Manchester see All the Mighty World, The Photographs of Roger Fenton 1852-1860, Yale University Press, 2004, p.30.

Estimate:

£4,000 - £6,000    This lot sold for £9400. 

See: http://www.the-saleroom.com/en-gb/auction-catalogues/bearnes-hampton-and-littlewood/catalogue-id-2872698/lot-16615482?searchitem=true

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

Registration is open for a 24-hour long conference-a-thon to celebrate International Women's Day (IWD) on 8 March 2025. The event will feature the work of over sixty photography scholars, practitioners, and enthusiasts in a free, online, global, 24-hour symposium dedicated to celebrating the contributions of women to the medium of photography from photography’s announcement in 1839 to contemporary practitioners in 2024. This unique event aims to highlight the diverse and impactful work of women and female-identifying photographers, and those working with photography, across many different cultures and time zones.

The conference-a-thon had been put together by scholars Dr Rose Teanby from the UK and Dr Kris Belden-Adams of University of Mississippi. It features speakers from across the globe including New Zealand and Australia, Asia, Europe and the UK, Canada, North and South America, following IWD as it moves through the Earth's time zones. All time zones enter International Women’s Day, 8 March, from 0800-1100 (UTC).

Split into three sections, the 15-minute papers, plus two longer keynotes, look at different themes and techniques through the lens of women from photography's announcement in 1839, others focus on individual women photographers from the C19th, C20th and C21st centuries, soem take a geographical approach, and other papers provide an opportunity to hear from contemporary women photographers, artists and practitioners. The keynotes are being delivered by South African/UK-based photographer Jillian Edelstein who will discuss her own practice and what photography means to her; and Dr. Katherine Manthorne who will discuss Civil War era New Yorkers. 

All the speakers will be recorded and the rceordings will be made available to registrants only, allowing them to catch up with any talks that they might miss. 

The programme, paper abstracts and speaker biographies are all available to review. 

Take a look at the full programme and register here: https://egrove.olemiss.edu/womenofphotography/2025/

A new exhibition celebrates the life and contributions of Freelan Oscar Stanley. This exhibit is a collaboration between the Stanley Museum and the Estes Park Museum and highlights objects from the collections of each institution such as Stanley dry-plates.

This photograph developing process invented and patented by F. O. and his twin brother Francis Edgar revolutionized the art of photography. They sold the company to Eastman Kodak in 1905, as their interest had turned to steam-powered automobiles.

Details of the exhibition can be found here.

Photo:  Twin brothers F. O. and F. E. Stanley invented a dry-plate photographic process later sold to Eastman Kodak.

The National Stereoscopic Association's 46th convention 3D-Con is going virtual in 2020. There is a two-part session on the history of stereoscopic photography taking place between 0730-1130 (Pacific Time) which is 1530-1930 (BST) on Friday, 14 August 2020.

The public is welcome to join for a morning of scholarship from an international group of historians and registration is free at the link here: http://www.3d-con.com/registration.php