All Posts (30)

Sort by

This conference examines the politics, poetics and ethics of the photographic visibility of the colonial past in museums in multicultural societies and the construction of postcolonial identities. It will explore the use of photographs in public narratives of difficult histories and examine different sets of problems and approaches across a number of European countries. It raises questions not only about the patterns of engagement, nostalgia, suppression, disavowal and unspeakability which cluster around representations of the colonial past, but questions about the role of photographs in the public space. What is the work expected of photographs? Is the apparent immediacy of the past in photographs too direct and uncontrollable to be accommodated in the carefully managed spaces of state multiculturalism?  What is the role of the artist’s intervention, digital environments, and community projects?  Are there ’safe spaces’ where the colonial might be addressed? Ultimately what kinds of narratives are museums constructing and for whom? How can the complexities of colonial relations be represented in museums and do photographs help or hinder?

The conference is part of the European-funded PhotoCLEC project, an international collaboration of scholars from the UK, The Netherlands and Norway. (see: The conference will include the launch of the project’s web resource.

Keynote Speakers:

Professor Benoît De L’Estoile (CNRS)

Dr Wayne Modest (Tropenmuseum, Amsterdam)

Other Confirmed Speakers include:

Professor Susan Legêne (VU University, Amsterdam), Professor Sigrid Lien (University of Bergen), Professor Elizabeth Edwards (DMU), Miranda Pennell (Filmmaker, Goldsmiths College, University of London), Dr Chiara de Cesari (University of Cambridge), Dr  Sabine Cornelis (RCAM) and Dr Johan Lagae (Univeristy of Ghent).


Date: 12 and 13 January 2012

Venue:  Pitt Rivers Museum, University of Oxford

A collaboration between De Montfort University and Pitt Rivers Museum, University of Oxford

Fee: £35  Optional symposium dinner: £38

Places are limited. Please contact Mandy Stuart ( to reserve your place.  

Other events in the series can be found here: PhotoCLEC events
Read more…

Jack Tait has kindly supplied two files which provide important information on British postwar photographic education and some of the people involved:

1. A small file version of the CV instances chapter originally written for Jack's PhD but omitted due to lack of space in the final thesis. It covers his involvement with photographic education with particular reference to creative activity. CV%20Creative%20instances.pdf

2. A list of names with dates where possible of all the people he met who were connected with Photographic Education.Photo%20Education%20staff.pdf

Jack is keen to make these available for researchers and interested parties as he says:

"It might then give some researchers a starting point for their investigations. I propose to keep adding to this as when new material emerges. It might be seen in conjunction with Mike Hallett's reviews which he produced for the BJP which were very extensive. I have tried to make it as accurate as possible and apologies to anyone whose name I have missed out.

The order of names is arbitrary and does not indicate the extent of the individual's contribution. Some contributions are large and significant and others less so but whose part is still important and might fill in gaps in people's research. It is of course up to others to rank order this list and to assign values to the contributions."

BPH is happy to host these files. If researchers make use of the material please credit Jack Tait and BPH. 


Read more…

12200921876?profile=originalBushey Museum and Art Gallery, located near Watford, opens a temporary exhibition Amateur Photography in Bushey on 4 August. The display in the museum's entrance area displays cameras from the museum collection ranging from an 1870s George Hare quarter-plate tailboard camera up to modern digital cameras by way of an original Kodak, various Brownies, a Leica, AGI, Instamatic and many others. The cameras were owned or used by Bushey residents and the display has been arranged by museum volunteers Michael Pritchard and Patrick Forsyth.

Over forty cameras are on display (part only showing in course of arrangement, right) including the only camera actually made in Bushey - the J. Langham Thompson Thompson Land oscilloscope camera dating from the 1950s-1960s. The exhibition runs until early December 2011.

The museum is located close to the M1 and M25 and there is parking available close by.  Details of the museum's location and openings times can be found here:

Read more…

The Dawn of Japanese Photography


12200920458?profile=originalThis recent exhibition held at the Tokyo Metropolitan Museum of Photography presented photographs dating from 1853 to 1900 belonging to institutions with exhibition facilities in Shikoku, Kyushu and Okinawa, and offered photo historians an opportunity to vew some of the earliest photographs produced in that country.

As the exhibition has just ended, I thought it might be useful to those BPH members with an interest in this area to include some useful background information from the Museum:

In preparation for this exhibition questionnaires were sent to 2,184 institutions, including art galleries, museums, libraries and educational authorities in Shikoku, Kyushu and Okinawa.  Of these, we received 696 responses and were able to discover 71 institutions that held original or duplicate photographs.These were then researched on site and the best gathered together here for this exhibition.
It is only because they have been carefully preserved  over the years in their hometowns that these early pictures could be brought together to make up this exhibition today, in the twenty-first century. The size and the designs on the back of these photographs possess a fascinating originality, reflecting the fact that they have come down to us through a long history.  We hope that in addition to their visual attraction, you will also enjoy the variety that exists in the photographic media.

The invention of photography was first announced to the world in France on August 19, 1839.  This invention became known as the daguerreotype process, in which the image was captured on a plate of polished silver.
So, how did Japan come into contact with this Western invention?  In 1843 UENO Toshinojo, a merchant and the official clockmaker in Nagasaki, tried to import a complete set of the equipment necessary to produce daguerreotypes, but unfortunately he was not successful and according to contemporary records, it was not until five years later, in 1848, that it finally arrived.  However, photographs dating from this time have yet to be discovered and it would appear that although he managed to obtain the equipment, the actual photography was not so easy. 
The first photograph to be taken of a Japanese on Japanese soil was produced by the photographer who accompanied Commodore Perry on the American East India Squadron.  Matthew C. Perry first visited Japan in 1853 then returned the following year, 1854, with a larger fleet to demand the opening of the country to foreign shipping.  An American photographer named Eliphalet Brown, Jr. accompanied this mission and his daguerreotypes were used as the base for a series of lithographs that accompanied the ‘Narrative of the Expedition of an American Squadron to the China Seas and Japan'. His work also included images of the Ryukyu Kingdom, as Okinawa was then known. 
The oldest extant photograph to have been taken by a Japanese is a portrait of the Daimyo of the Satsuma Domain,‘Shimazu Nariakira’, that was taken by USHUKU Hikoemon and others.  This photograph was produced using daguerreotype equipment, but it has been ascertained that members of the Satsuma domain had also been studying calotype, albumen prints and other photographic techniques extensively, even prior to Perry’s arrival in Japan. 
Immediately following the opening of the country, a Japanese mission set off for the U.S.A. on the USS Powhatan, accompanied by the Kanrinmaru, a Japanese ship crewed largely by Japanese.  Upon their arrival in the U.S.A. samurai from the mission and the engineers from the Kanrinmaru visited photographic studios in San Francisco and New York to have their pictures taken. 
In the West, the concept of photography had fascinated people for many years before the invention of practical methods of achieving it, whereas in Japan, the people came into contact with finished technique before they had even considered it for themselves.  Japanese photographic history started from the day that the first Japanese posed in front of the lens.

Following the ratification of the Japan-U.S.A. Treaty of Peace and Amity, Japan signed treaties establishing diplomatic relations with many other Western nations.  With the opening of the Port of Yokohama on July 1, 1859, foreign commerce was no longer limited to Nagasaki and foreign settlements sprang up in Kobe, Hakodate, etc., areas of land were made accessible to foreigners and a gateway to the rest of the world was officially opened.  Numerous photographers took advantage of this to visit Japan and the early Japanese photographers studied their art from them. 
The first Japanese photographer to establish his own studio was UKAI Gyokusen.  He learned the necessary skills from a British photographer and it has been ascertained that he had opened a studio in the Yagenbori area of Edo by at least August, 1861.  SHIMOOKA Renjo also studied photography under a foreigner in Yokohama, and like UKAI Gyokusen it is thought that he initially catered for Japanese customers, selling his work through a bookshop, but later he shifted his target to foreign tourists visiting Japan.
Unlike Edo or Yokohama, Nagasaki had a long history as the only port open to international trade and was traditionally a commercial city. UENO Hikoma was born in Nagasaki so he had been able to gather a great deal of information on the subject of photography and the instruction he received from foreign photographers after the opening of the port can be said to have been merely the final stage of his education.  With the support of the Tsu domain, he succeeded in acquiring a set of photographic equipment and his experiences are recorded in his ‘Seimikyoku hikkei’ (Chemistry Laboratory Handbook). Later, he opened a studio in Nagasaki and was visited by many people not only from Kyushu, but also all over Shikoku and the Kinki area, who were sent by their domains to study photography, creating a unique network of photographers.  Another photographer from Nagasaki, UCHIDA Kuichi had mastered photographic techniques before being introduced to UENO, but in order to avoid direct competition, he traveled to Kobe and Osaka before setting up a studio in the Asakusa area of Edo.  In addition to official work, producing a portrait of the Emperor and accompanying the Emperor on a tour around the provinces, he also photographed actors and famous places, distributing these and contributing greatly to the spread of photography. 
Photography was mastered by the first generation of photographers in the mid-nineteenth century as both an exercise in the latest pure science and also as a commercial enterprise.  Their success inspired the next generation of photographers and served as the driving force to spread of the art.

Section 3:Diffusion
In Japanese photographic history, it can be said that the bulk of demand during the mid-nineteenth century was for portraits. After the Meiji Restoration (1868) photography became generally accepted throughout society as‘an easy way of creating individual portraits'. In response to public and private demand, the field later expanded to include the production of records of public works projects and replaced the role of woodblock prints in providing visual images of kabuki actors or famous places. 
After the pioneers there came the second-generation photographers, people like INOUE Shunzo, who learned his art during the feudal period and began producing works at the photographic studio belonging to Lord Yamauchi, Daimyo of Tosa Domain in 1869, before going on to become independent. There were also official institutions, such as the Tokyo Printing Bureau (now the National Printing Bureau) that was established in 1878 and contained a studio where large numbers of people had their portraits taken, including many members of the general public.
Unlike the first generation photographers who learned their art through contact with foreigners, the second generation had Japanese teachers and studied from literature written in Japanese. In Nagasaki in addition to students such as SETSU Shinjiro, TAKESHITA Keiji, KIYOKAWA Takeyasu, etc., UENO Hikoma’s sons, Yoichiro and Hidejiro also established themselves as photographers. These photographers in turn, passed their knowledge on to the next generation. In this way, many apprentices appeared, eager to learn photography, and as they also established themselves as photographers, numbers swelled, making the field increasingly competitive. 
From the early to mid Meiji period (late 19th century), Japanese photography expanded its target from the personal to public issues. It was not a period when everybody was able to take their own photographs, but neither was photography used to create artistic expressions.  However, it was during this period that people achieved a general understanding of what photography meant.


Text from the Tokyo Metropolitan Museum of Photography 2011.

Read more…

12200914901?profile=originalA new exhibition at the Tokyo Metropolitan Museum of Photography not only reveals the tricks used in the first decades of photography to keep young clients still, but also explains the rapid advances in photographic technology during the 19th and early 20th centuries by focusing on that trickiest of subjects: the child.

Take, for example, a family portrait (No. 8) taken between 1840 and 1865. It's unusual to see such a young child in an early photograph like this because the daguerreotype method required an exposure time of several minutes. An adult could make use of neck and back supports to remain immobile, but the only way to keep a child still long enough was to put an adult in the picture to hold the child still. If you look closely, you can see that the mother and father are holding the baby's arms and legs down.

Similar techniques were used in Japan as well. In a photograph of a Japanese woman and a baby (No. 24) taken by Felice Beato, an experienced photographer who came to Japan in 1863, the baby is secured to the woman's back with a cloth. Even so, the image is blurred because the child moved his head. For a composed photograph of the interior of a Japanese home, intended for sale to foreign tourists (No. 25), Beato used a doll rather than risk a real child who might move and spoil the shot.

In addition to works by Lewis Carroll, Julia Margaret Cameron and Henri Cartier-Bresson, the exhibition includes photographs by Harold Eugene Edgerton, a professor at the Massachusetts Institute of Technology perhaps best known for capturing the corona made by a drop of milk at the moment it splashed. He used the same strobe equipment to catch his daughter Mary Lou mid-air as she was jumping rope (No. 27). There are similar juxtapositions of works by celebrated Japanese photographers including Suizan Kurokawa, Shomei Tomatsu and Daido Moriyama.

Details of the exhibition can be found here, and a full report here.


Photo: Childhood blooms: Children sell flowers in a photograph by Renjyo Shimooka (c. 1862-78). COURTESY OF THE TOKYO METROPOLITAN MUSEUM OF PHOTOGRAPHY

Read more…

Talk: Niépce in England

12200920300?profile=originalIn October 2010 the National Media Museum hosted the 'Niépce in England' Conference where they could announce and share with the photographic, conservation and scientific communities the ground breaking findings which had been discovered during the collaborative research partnership between the National Media Museum (NMeM) and the Getty Conservation Institute (GCI).

The aim of the project is to record the ‘signature’ of every photographic process and the variants throughout the history of photography. Within the National Photography Collection at the NMeM are three early examples of photography by Joseph Nicéphore Niépce and there is no better place to start on a project than at the beginning.

This new research places Niépce in his rightful place within the history of photography as it revealed new exciting evidence about the examples of photography which Niépce had brought to England to show the Royal Society of London in 1827. Photo historians had always assumed, incorrectly, that the examples Niépce brought were examples of his Heliographic process. However, scientific analysis revealed that the NMeM has examples of three different photographic processes by Niépce.

Speaker: Philippa Wright, National Media Museum


Details of the talk can be found here.

Booking for this lunchtime lecture will open later this summer - meanwhile please mark your diaries and keep an eye on the website!

Read more…

Where have you gone, Joe DiMaggio ...

12200921298?profile=originalIf only Mrs Robinson knew - she would have bid for this 1930's photograph of a nude Joe DiMaggio in the showers at Yankee Stadium. It recently sold at auction for US$17,233 to John Rogers, owner of the Rogers Photo Archive in North Little Rock.

The Rogers Photo Archive is the largest privately owned collection of photographic images with well over 33 million images that include all photographic formats such as original vintage studio and cabinet photographs, wire and news service photos, glass plate negatives, and high quality digitals.

Details of the lot can be found here, and the Archive here.


..... A nation turns its lonely eyes to you (woo, woo, woo)

and so the song goes ...


Photo: Joe DiMaggio shown in all his glory basking in the showers of Yankee Stadium. Obviously aware of being photographed in such a state, he is seen smiling for the camera, Boudoir Photograph.

Read more…

Archive: Museum of the City of New York

12200914496?profile=originalLaunched in December 2010, the Collections Portal is the public side of a digitization project that will enable Web visitors to discover ever-larger portions of the Museum's collections.  It currently offers more than 62,000 photographs of New York City, thousands of which have never been available for public viewing.  And this is just a start - more photography will be added to the portal as imaging and cataloging work is completed, and the Museum has just begun digitizing the prints and drawings collections.  Be sure to use the magnifying glass icon below each picture to explore the images with the zoom feature - they captured the objects at an exceedingly high resolution, enabling you to investigate even the smallest details of these historic images.

The Collections Portal website can be found here.


Read more…

12200916492?profile=originalThe Design Museum, London, is holding a retrospective of Britain’s leading product designer titled Kenneth Grange - Making Britain Modern. Grange was responsible for designing some of the most iconic and familiar products and appliances that shape our daily lives. These include Kodak cameras such as the Instamatic range during the late 1950s-1970s. The exhibition is well worth visiting.

Correspondence between Kodak and Grange is held in the Kodak Historical Archive at the British Library.

More details are here:

The exhibition is at: Design Museum, Shad Thames, London SE1 2YD. Open: 10.00 -17.45 daily. Last admission: 17.15. Admissions: £10.00 Adults, £9.00 Concessions, £6.00 Students under 12s Free.
T: 020 7940 8790 W: 

The photographs below show the entrance of the exhibition and part of the exhibit dealing with the Instamatic camera - which is just part of the photographic/Kodak content.  



Read more…

12200914459?profile=originalThe Edinburgh Photograph Society (EPS) was set up in 1861 (two other societies, the earliest in the world, were founded a few years previously, both also in Scotland) after the 1851 Great Exhibition in London prompted interest in the subject, and the society will next month mark its 150th birthday with a civic reception at Edinburgh City Chambers.

The EPS started out as the Photographic Society of Scotland, founded under the patronage of Prince Albert. However, a number of members found the group too formal and objected to the decision to exclude a particular photograph (‘Two Ways of Life’ by the Swedish fine art photographer, Oscar G Rejlander) from an exhibition because it featured semi-nude females.

The group began to meet informally, then in 1861 in a room behind a watchmaker's shop on South Bridge they established the Edinburgh Photographic Society. The society still meets for a weekly lecture on Wednesday nights, just as it has done for the past 150 years, though the subject matter has changed somewhat. Early lecture titles include A new tent for photographic purposes mounted on a wheelbarrow (1865) and Cycling with the camera (1886).

You can read the EPS's full history here, and a news article here.



Photo: Members of the sixth Annual Photographic Convention of the United Kingdom held in Edinburgh in 1892.

Read more…
The refurbished Scottish National Portrait Gallery is to reopen on 30 November 2011. For the first time there will be a dedicated photography gallery and the opening exhibition will highlight some of the greatest works from the National Galleries of Scotland photography collections. Over sixty works will be on show from Hill and Adamson to newly commissioned work. Another gallery will show Close Encounters: Thomas Annan's Glasgow.
Read more…

Back to the Future ...

12200918268?profile=originalWere you a young person living in Swindon between the 1940’s and 1960’s? Did you live in the Gorse Hill, Parks, Penhill, Pinehurst or Old Town areas? Do you remember having your photo taken? If so, a £25,000 community project (with grant from the Heritage Lottery Fund) is looking for you!

Between the 1940s and 1960s, the famous Swindon photographer Albert Beaney took hundreds of pictures of local people.  A collection of about 40,000 of his negatives and prints are now held by Swindon Museum and Art Gallery, in Bath Road.

Now a social history project called Back to Black and White, based on his work, aims to track down as many people in Mr Beaney’s photographs.  A partnership between Swindon Borough Council’s Create Studio’s, Swindon Museum & Art Gallery, and Swindon Youth Forum, this project will also features the young people taking new photographs which, along with the Beaney photos, will be displayed in an exhibition at the Artsite Gallery in Theatre Square.

If you think you have a Beaney image at home or had your picture taken when you were young please do get in touch: You can call Marilyn Fitzgerald on 01793 465333 or email her at

The full news article can be found here.


Photo: Copyright  Beaney image - Cricklade Rd - Bob townsend end left and John Townsend end right.

Read more…

12200918491?profile=originalThe director of George Eastman House International Museum of Photography and Film will retire in one year, on July 31, 2012, the organization announced Friday. Anthony Bannon has been director of the museum since 1996 and his 15-year tenure makes him the longest-standing director in the history of the museum. An international search will begin in coming months and Bannon will assist in the search process, Eastman House officials said.

"I am totally invested in George Eastman House and its wonderful extended family, but I feel it is time," said Bannon, the Ron and Donna Fielding Director. "We have set into place a new and vigorous strategic direction, and it is time for new energy and vision to move that forward.

“I have been saying for years that our forbearers here at George Eastman House wrote the book about the photograph and film as objects worthy of preservation, of care, and of significance. Now it comes to us to share how these work in history and culture and to use them as vehicles that can carry us to any destination we might choose."

During Bannon’s tenure the museum created three post-graduate preservation schools, alliances with museums and universities, collectors clubs in large U.S. cities and many of the most-attended exhibitions in the museum's 64-year history, museum officials said. The museum also digitized its collections and began social-media campaigns to share its collections with the world.

Bannon led an effort to diversify the board of trustees, which now has more of a national focus with many members from outside the Rochester area, museum officials said. He also led creation of collectors clubs in large cities such as New York City and Los Angeles, and has initiated plans for satellite schools in photograph conservation in South Korea and Qatar.

Bannon plans to remain as George Eastman House Senior Scholar, a title appointed by the organization’s board of trustees. He said he plans to continue working in the arts field as speaker, writer and consultant.


Read more…

12200915878?profile=originalA new project to curate and digitise historic photography from Wales’s national collections has been made possible with the support of a £600,000 gift from the Esmée Fairbairn Foundation, which is marking its 50th Birthday this year.

Natural Images - Amgueddfa Cymru’s new initiative, which begins in Autumn 2011, will involve transferring the finest examples from the Museum’s extraordinary collection of around 500,000 photographs and historic items, into an accessible digital format.

Items from the Museum’s photography collection are currently spread across several disciplines from geology and botany to social and industrial history and more recently, art. Waleshas a proud place in the history of photography and through Natural Images, the Museum will re-assess its place within the national collection, bringing together the diverse and extraordinary images to give an overview of this rich collection.

The Museums hosts works by a wide range of photographers, some anonymous and others famous like the Welsh pioneer of photography John Dillwyn Llewelyn. One of the great strengths of Wales’s historic photography collection is the 1,500 images and objects associated with Dillwyn Llewelyn. It includes original prints from the 1850s and examples of his pioneering and technically ambitious work with the ‘instantaneous process,’ capturing fleeting moments such as the breaking of a wave at Caswell and perhaps the earliest surviving photograph of a Guy Fawkes bonfire (c.1853).

Another important aspect of the collection is albums of photographs and books on photography. The Museum not only owns a first edition of The Pencil of Nature by William Henry Fox Talbot - one of the first books to describe photography, but also images by the Calvert Richard Jones, who developed his own technique for taking panoramic photographs and accompanied Fox Talbot when he toured Britain whilst working on the book.

The official press release can be found here.


Photo:  "Remember, Remember the 5th of November" 1853 by John Dillwyn Llewelyn. This image is probably the first in Wales showing a Guy Fawkes figure.

Read more…

Early Swiss daguerreotypes by de Prangey

12200913663?profile=originalThe picturesque village of Rossinière, nestling in the Sarine Valley between Chateau d’Oex and Gruyères, will be playing host to the second Alt+1000 contemporary mountain photography festival this summer. The quiet village of just 400 inhabitants is best known for its 17th and 18th century wooden chalets and other historic buildings, steep lush green backdrop and typical Pays d’Enhaut mountain culture. It was also home to French-Polish modern artist Balthus, who lived and worked at the famous Grand Chalet with his wife from 1976 until his death in 2001.

Nathalie Herschdorfer, the former curator at Lausanne’s Elysée photography museum, has been brought in to lend her professional know-how to the young festival, which will henceforth become a biennial event.

As an introduction to the contemporary works the public also has a chance to discover the very first photographs of Switzerland – French daguerreotypes by Girault de Prangey made only a few years after the invention of the camera – and the series Swiss Views by the famous 19th century English photographer Francis Frith.

If you're tempted to head there this summer to enjoy both the high life and the festival, details can be found here.

Read more…

Storytelling Snaps

I am undertaking a part-time MA in Digital Media [September 2010 to 2012] at the School of Media, University of Lincoln.  I have completed my first year creative project - phew! - and welcome feedback.



Click on Storytelling Snaps to see my original online interactive project where you pick through the photos and hear stories that span a lifetime of memories over one man’s eighty years.  They are spontaneous stories triggered the moment I showed him family archives that were stored away. Now they have been given a digital life to a new audience whereby each snapshot shares its tale.


I was curious about how a shot captures a moment that can trigger a memory and release a story.  In Sontag’s essay Plato’s Cave (1977) for me she accurately described photographs as “experience captured” and that, in essence, conceptually inspired my project.   



Read more…

12200921080?profile=originalThese are battles that are forever etched in America’s memories. The man who captured some of the most horrific images during the War Between the States was Alexander Gardner, an intrepid Scotsman, a jeweler’s apprentice of Calvinist upbringing, a newspaper publisher, entrepreneur and photographer. Gardner’s historically significant compilation of images, his Photographic Sketch Book of the War, is one of the most acclaimed photographic books ever published, and yet little known. Published in 1866 in two stunning volumes and with an original price tag of $150, only 200 copies were ever printed, with fewer than 14 remaining intact to this day. A complete set of the works sold at Christie's in 2009 for $92,500, beating the $40,000 - $60,000 pre-auction estimate.

As America remembers the 150th anniversary of the beginning of the Conflict, this publisher's (Tehrkot Media) goal is to bring this work of art and these images back to life and to make it widely available to those around the country, as well as around the world, who share their love of photography as well as the history of this great era.

This app is a faithful re-publication of Gardner's 1866 masterpiece where you can enjoy:· Alexander Gardner’s original introduction from 1866.· Beautifully illustrated title page by renowned Civil War artist Alfred R. Waud.· 100 Civil War images with accompanying captions written by Alexander Gardner between 1865-66, shortly after the cessation of hostilities.· Biographies of photographer Alexander Gardner as well as acclaimed illustrator, Alfred R. Waud.· Information on how photographers operated in the field during the early days of battlefield photography.· Analysis of a number of Civil War photographs explaining how the photographers staged them in an effort to heighten the dramatic effect of the images, which captured the essence of the War.· Share your favorite photographs with friends and family either through email or buy them a print of an image to hang on their wall.

Details of this iPad app can be found here, and if you don't have one yet - no worries - some of the images can be found here. A BPH blog on this historic book from this legendary Scotsman can be found here too.

Read more…

For anyone who has an interest in public access to and interpretation of old images you might be interested in which officially launched on Monday, after about a year in 'beta'.  The launch coincided with the availability of new features and also a mobile app (currently just for Android smartphones).  One of the key features is being able to discover the photographs taken at any location - including the ones taken near where you are - and visualising these both on a map, overlaid on Google Street View, and on your mobile through an interactive viewer.  Aside from the online stuff, they are doing some great community projects bringing together young and old, exploring local history through photographs.

You can find out more at  The short videos give a good flavour of how it works.

I have been having a play around and have created a tour of Kew Gardens, exploring the history of the gardens through a small selection of pictures from my own collection.


Read more…

Blog Topics by Tags

Monthly Archives