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12200961690?profile=originalThe earliest known album of photographs compiled by Julia Margaret Cameron, including 15 unique images (most of which were hitherto unrecorded), and unseen on the market for more than forty years, sold at Sotheby's London on 12 December 2012 in the sale of English Literature and History for £121,250 (inc.buyer's premium)

The album reveals Cameron's sophisticated involvement in the art of photography in the years immediately before she began to take photographs in her own right. In all likelihood it was compiled by Cameron as a gift to the eminent artist G.F. Watts, and this album is a remarkable testament to the profound links between these two artists.


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12200959078?profile=originalA new History and Theory of Photography Research Centre has recently been approved at Birkbeck, University of London. Based in the Department of History of Art and Screen Media, School of Arts, the Centre is led by Professor Lynda Nead and Dr Patrizia Di Bello, supported by a steering committee.

The Centre aims to facilitate, exchange and showcase existing and new interdisciplinary research on the History and Theory of Photography not only at Birkbeck but also in the wider photographic and academic community. It recognizes that photography is a medium that is at once art, science, commerce, legal or historical evidence, emotional memento, and many more things besides. It is interested in the materiality of photography throughout the arc of its life – from how it is taken; realized as a tactile as well as visual object (album, print, poster, book, magazine, file, screen); circulated in contexts that might differ widely throughout the lifetime of the photograph (for example from document – historical, legal, scientific, or personal – to ‘art’); and viewed in specific ideological, historical and material circumstances in the lab, at home, in the gallery, on the ‘phone, in the street, and in ways we have yet to imagine.

The Centre is committed to working collaboratively and with a range of outputs: reading groups, seminars, conferences, and publications. The Centre has links with museums in London, and supports teaching on photography in the School through the MA in History of Art with Photography and MPhil-PhD supervision.

A website is under development but initial information is already available at

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12200968493?profile=originalIn 1862, the Prince of Wales (later King Edward VII) was sent on a four-month educational tour of the Middle East, accompanied by the British photographer Francis Bedford (1815-94). This exhibition documents his journey through the work of Bedford, the first photographer to travel on a royal tour. It explores the cultural and political significance Victorian Britain attached to the region, which was then as complex and contested as it remains today. 

The tour took the Prince to Egypt, Palestine and the Holy Land, Syria, Lebanon, Turkey and Greece.  He met rulers, politicians and other notable figures, and travelled in a manner unassociated with royalty – by horse and camping out in tents.  On the royal party’s return to England, Francis Bedford’s work was displayed in what was described as ‘the most important photographic exhibition that has hitherto been placed before the public’.

The exhibition is being held at The Queen's Gallery, Palace of Holyroodhouse from Friday, 08 March 2013 to Sunday, 21 July 2013. Further details can be found here.

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12200958680?profile=originalThis Bonhams auction in London on 4th Dec includes an exceptionally rare set of two volumes of photographic albums of Java in the Dutch East Indies by the pioneering Victorian photographers, Walter Woodbury and James Page. Containing some 60 topographical views and portraits, mostly around Batavia, they are estimated to sell for between £10,000-15,000.

Another lot on offer is an album of 180 views and portraits taken in Ethiopia by Captain Tristram Charles Sawyer Speedy(1836-1910). It also includes some self-portraits of Captain Speedy himself and us estimated to sell for £600-800.

You can check the rest of the lots here.

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12200967882?profile=originalThis item, lot 2104, an Exceptional Leica Luxus I, circa 1930, No.40848 with a 50mm f3.5 Elmar lens, and a faux lizard skin body covering had been estimated to sell for HK$1,200,000-1,800,000. In the end it was knocked down for almost seven times that amount on Friday.

Jon Baddeley, Head of Collectables at Bonhams, said after the sale: "This was the first Leica sale in Hong Kong and the results more than justify our belief in the idea of bringing these wonderful cameras to China which has a rapidly emerging market for vintage cameras. We took a bit of a gamble but it has paid off handsomely Already we can see that this market is outstripping New York and London."

This camera was from the collection of E. J. Newton (Jack), one of the founder members of the Leica Historical Society and its first president. It remained within his private museum in Sutton Coldfield, England, and later, along with most of his collection, went on display at the Royal Photographic Society of Great Britain, Milsom St., Bath. Thence to current vendor.

The Luxus cameras were produced on special order only in very tiny numbers between 1929 and 1930, using serial numbers falling between 28692 and 68834. Just 95 units were produced and many less are known to exist today. You can read the rest of the report here.

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12200958262?profile=originalOver the period 1 May 2011-30 April 2012 1378 photographs valued at £8,671,367 were licensed for export after reference to expert advisers. These are photographs that might have been sold at auction, through a dealer or privately and which would require an export licence under the Waverley criteria.

For an Open General Export Licence the threshold for 'A photographic positive or negative or any assemblage of such photographs over 50 years of age' is £10,000. Within the EU the threshold is £13,045

More information is here:

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Job: Conservator of Photographs, Bradford

12200927099?profile=originalThe National Media Museum is seeking a skilled and enthusiastic Conservator of Photographs to provide high quality interventive conservation. The post holder will be based at the National Media Museum in Bradford and will support our busy exhibition programme.

Your recognised conservation qualification or similar experience will be supported by demonstrable skills in interventive and preventive museum conservation on a wide range of photographic materials, with an understanding of conservation and collections care for 3-d mixed media objects; including condition checking and documentation .

You will be able to supervise volunteers and conservation interns and provide advice and support to colleagues working within the Curatorial, Corporate & Collections Information (Registration & Documentation) and Exhibitions teams. The role will also participate in the safe management of hazards within the collections, complying with current H&S regulations and in-house policies and safe working practices.

You will have excellent interpersonal skills and be confident communicating with a wide range of people.  You will have demonstrable skills in problem solving and prioritising, which will be supported by your previous experience within a museum or cultural heritage environment.

You will be able to demonstrate the ability to plan and execute your own work programmes, provide statistics and promote high conservation and collections care standards with the ability to use Collections databases (eg: Mimsy XG) and practical expertise in object handling.

CP/NMEM/NOV 12 - Conservator of Photographs

Posted: 12/11/2012 10:23
Start Date: Not Available
Salary: 21,302
Location: National Media Museum - Bradford
Level: Conservation
Deadline: 30/11/2012 23:59
Hours: 36.00
Benefits: SMG Museum Benefits
Job Type: Full Time - Permanent

Interviews will be held in week commencing 10 December 2012.


All shortlisted applicants will be asked to bring a portfolio of their conservation work with them to their interview. The portfolio should mainly focus on photographic conservation and collections care.


Click here for more or to apply 


Application Details

When you apply you will be asked to upload one document in Microsoft Word format which includes both your CV and a covering statement. In your covering statement please state why you feel you are suitable for this role? Please focus on the experience you consider to be most relevant to this role.

Purpose of the Job

To preserve the photographic and film collections in the care of the National Media Museum using best professional practice to meet strategic and statutory requirements within the budget constraints of the organisation.


To undertake all aspects of interventive conservation on a wide range of photographic materials, including condition checking and documentation. Responsible for all aspects of preventive conservation work for all collections held by NMeM. To advise upon and ensure that deterioration throughout the collections is minimised through the relevant preventive conservation methods.


Ensuring that these tasks are carried out in a safe and secure manner to comply with current legislation and following best professional practice.


Key Deliverables/Accountabilities


1.    To plan and execute a work programme of conservation of inventoried photographs in the collections based on conservation requests, projects, loan outs and renewals, acquisition requests, on time and to budget, complying with best professional practice and statutory requirements.

2.    To manage, maintain and improve systems for preventive conservation at NMeM, including environmental monitoring and control, integrated pest management, condition surveys, storage surveys. Analyse the results and write an annual environmental report. Compile reports to advice on long term priorities and strategies highlighted from preventive work. Working together with conservators across the group to deliver annual KPI reports and to achieve best results.

3.    To develop and deliver collections care training to other SMG staff and volunteers in object handling and the fundamentals of preventive conservation; and other training as identified with line manager.

4.    To advise line manager and other appropriate colleagues (eg curatorial/registration) on conservation issues connected with photographic material under treatment to ensure that projects are completed on time and to professional standards. To advise line manager and other appropriate colleagues on conservation issues with all other collection materials that require specific specialist conservation.

5.    Prepare condition and treatment reports (with annotated images) for photographic material and other collection objects conserved and input this information into MIMSY XG database following CCI and Science Museum conservation documentation guidelines. Prepare condition and display/storage recommendation reports for loans and new acquisitions.

6.    To participate in safe management and awareness of hazards within the collections; complying with current H&S regulations, in-house policies and safe working practices in the Conservation lab, galleries and object stores.

7.    To maintain and develop professional knowledge and expertise in conservation and collection care related to the NMeM's collections.

8.    To plan and prioritise work programmes for students, mentoring and monitoring quality of output, and developing practical knowledge and skills to ensure that best practice is passed on to future staff.

9.    To undertake the general administration of the Conservation lab, to ensure that this is done in an environmentally sound and economical manner.

10. To participate in public events where appropriate to raise awareness and provide public insight into work of Conservation and Collections Care.

11. Manage external specialists and contracts for specific conservation projects outside the expertise of the post holder, eg remedial object conservation. This could include conservation colleagues in other Group museums.

12. Support colleagues with emergency planning and salvage with particular input regarding the Collections

13. Under supervision to undertake basic conservation research projects on specific areas of the collections or types of objects to extend knowledge of the whole team.

14. Take care of your personal health and safety and that of others and report any health and safety concerns. Ensure proactive compliance with SMG H&S Policies, including risk assessments and implementing safe systems of work.


Working Relationships and Contacts

  •   Conservation and Collections Care teams across Science Museum Group.
  • National Media Museum teams including Curatorial, Corporate & Collections Information (Registration & Documentation) and Exhibitions.
  • Students and Volunteers; assist and support on collection care projects.


Line Management and Budget Responsibility

  • Indirectly line manages: Volunteers, interns as required
  • Operating Budget up to £5,000


Candidate Profile



  • Experience of working within a museum or cultural heritage organisation
  • Demonstrable experience of working on Photographic collections.
  • Experience of working with collections teams to deliver exhibitions, support loans and acquisitions
  • Experience of supervising staff and volunteers is desirable.


Skills, Knowledge and Relevant Qualifications


  • Relevant object or paper conservation qualification (first degree) or equivalent practical experience and knowledge.
  • Photographic conservation training and relevant practical experience on a wide range of this material.
  • Understanding of conservation and collections care for 3-d mixed media objects.
  • Excellent conservation skills and attention to detail.
  • Demonstrable strong written and oral communication skills including a good standard of written English.
  • Demonstrable knowledge and practical application of current Health and Safety practice including awareness of collections-based hazards.
  • I T skills: Word, Excel, MIMSY XG or other collections database systems and image manipulation software such as Photoshop or Photoshop Elements.
  • Understanding of the financial implications of proposals.
  • Demonstrable planning, resourcing and prioritisation skills.




  • Team Working

o        Good team worker who demonstrates and encourages positive approaches, seeks to resolve issues and conflicts, focuses on win-win outcomes, actively champions the team; motivates others and enthusiastically shares knowledge & expertise.


  • Achieving Results

o        Actively seeks information, prioritises and uses time efficiently, thinks several steps ahead, seeks tasks, responsibilities & challenges, spots & rectifies errors, works smartly, builds in contingencies, self-starts, anticipates issues, proactively identifies areas for cost efficiency, actively seeks and responds to feedback, multi-tasks effectively,


  • Problem Solving & Creativity

o        Reacts positively to change and uncertainty, prevents problem re-occurrence, continually seeks improvement, thinks ‘outside the box’, seizes opportunities to be creative, develops processes, systems & solutions; Networks extensively; Explores root cause of problem


  • Customer Service

o        Proactively helps, understands customers and acts to meet their needs, enthuses about the product or service or working collaboratively with non specialist audiences in developing cultural offers, goes the extra mile, answers all questions & provides additional information


Scope for Impact


  • To ensure photographic material and objects are stable, accessible and at their optimum condition for storage and display to meet the museums objectives to preserve the collections and support the cultural programme.
  • Prepare specialised condition reports on objects for loans to other institutions to ensure object record is maintained.
  • Provide data from condition surveys to feed into long term planning for the team and museum.
  • Maintain the public and professional face of museum


Please note:

  • This job description is not exhaustive and amendments and additions may be required in line with future changes in policy, regulation or organisational requirements, it will be reviewed on a regular basis.
  • This role is subject to a Disclosure Scotland basic criminal record check
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Event: Archive Connections

12200966900?profile=originalAnne McNeill, Director, Impressions Gallery and Brian Liddy, Curator of Collections Access, National Media Museum will discuss the gallery's role in British photography and its connections with the museum's photographic archive. The Gallery has its own extensive - and important - photography archive which dates back to its founding in 1972.

The event will take place at Insight at the National Media Museum's Collections & Research Centre and will provide an opportunity to view original photographs from the museum’s collection.

This event is free, but please book in advance as places are limited on 01274 737843 or email:

After Archive Connections you are also welcome to attend the Directors Talk at Impressions Gallery at 3.30pm and view our 40th anniversary exhibitions Roads to Wigan Pier and The Way We Were.

Saturday 8 December 2012, 2.00pm to 3.00pm 


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BM Archives are online! - after 5 years of development and hard work we launched our new website this week which incorporates not only our vast collection of historical images that have been online for 10 years but also our 6775 strong map collection and our archives catalogue.

We decided to keep the visual and intuitiv setting of our historical images website,, which relaunched our historical images within the International Mission Photography Archives in 2008. now incorporates not only the large historical images collections of the Basel Mission Archives and the maps (sketches and plans) but also an electronic version of our finding aids which aims at assisting the researchers by allowing them to begin their archives research at their own desks at home.

Our main aim however is to visualise the interconnections of the various collections harboured at the archives. We included a geo referencing tool which connects the past with the present in a very intuitiv way.

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12200958088?profile=originalThe School of Art History at the University of St Andrews is offering three PhD scholarships of £15,000 in the areas of Art History, History of Photography and Museum & Gallery Studies to begin in September 2013 (3 years, full time). The Scholarships will cover the cost of fees (at the UK/EU home rate) and provide a tax-free bursary to successful candidates.

For full details on these scholarships and the application process, see:

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As priceless images from the earliest days of photography were dissolving in front of museumgoers' eyes, an unlikely team set out to save them.  In the theaterlike darkness of the international Center of Photography in New York City, black-and-white ghosts of New England's mid-19th-century Boston Brahmins stared out from behind the glass-and-rosewood frames. These were the works of Albert Sands Southworth and Josiah Johnson Hawes, the Rembrandts of daguerreotypy—the first practical form of photography. A demure bride in white silk crepe fingered her ribbons; the stern and haughty statesman Daniel Webster glared from behind his brow. When the “Young America” exhibit opened in 2005, its 150-year-old images captured American icons at a time when the nation was transitioning from adolescence into a world power. “Each picture glows on the wall like a stone in a mood ring,” the New York Times raved in its review.

Yet after a month on exhibit, the silver plate–bound images began to degrade...


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12200965668?profile=originalA rare album of photographs of China by John Thomson titled 'Foochow and the River Min' (1873) sold for an auction world-record of £349,250 (including buyer's premium) at Sotheby's on 15 November 2012. One of an edition of only 46, this album was offered for sale by descendants of the original tea-merchant owner, Oliver Latham, who won the album in a pigeon match in Foochow in April 1873.

In the same sale a complete set of Thomson's Illustrations of China and its People (1873-74) sold for £49,250 (including buyer's premium).

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Obituary: Dr John Wall

12200960298?profile=originalThe Reverend Dr John Wall MA FRPS died on 5 October 2012 aged 84 years. His funeral was held in Kirkbymoorside on 16 October.  John Wall compiled the pioneering Directory of British Photographic Collections which was published by The Royal Photographic Society’s National Photographic Record and Heinemann in 1977.

John Wall was born in Middlesborough in the North Riding of Yorkshire in 1928. From the age of three he lived in Darlington, County Durham where he attended Darlington Queen Elizabeth Grammar School. Later he attended Hartley-Victoria Theological College and Manchester University. He obtained a BD degree (London), an MA, Classics (Bristol) and a PhD in Medieval History (London).

After graduating in divinity Wall took pastoral charge of churches in Newcastle and Somerset. He entered the teaching profession in 1966 and became a principal lecturer and head of religious and social studies at Middleton St George College of Education in County Durham.  Wall was an enthusiastic amateur photographer and joined the Royal Photographic Society. He gained his Associateship in 1966 and Fellowship in 1977.

His lasting legacy is the publication of the Directory of British Photographic Collections. This had its origins in a meeting held by the Society in March 1972. The idea of a National Register of Photographic Archives had been championed by Colin Osman for some years and this, under Wall’s efforts, was renamed the National Photographic Record and set up as a department of the Royal Photographic Society. (1) The NPR was supported by the Sunday Times and funded privately with some £16,000 raised to establish it. Wall became its leading advocate and, with a staff of four and four years, worked on the compilation of the Directory. The Directory aimed to collate basic information on photography collections in the United Kingdom and some 17,000 questionnaires were circulated with 1580 collections included in the book which was published in 1977. (2)

Following publication Wall continued to write and lecture extensively on photographic archives and related subjects. He gave The Peter Le Neve Foster lecture at the Royal Society of Arts in November 1982 titled ‘Towards a National Photographic Archive’ . (3)

Taking early retirement on account of his wife's incapacity, Wall retired to Kirkbymoorside, on account of its proximity to the North Yorks Moors Railway. His interests and hobbies included: steam railways; walking; coins and stamps; mazes; sundials; photography; medieval history and sculpture. In addition to the Directory he was the author of First in the World: The Stockton and Darlington Railway (Sutton Publishing, 2001); The Face of the Realm: Twentieth Century Coins of the United Kingdom: Their History and Design (Spink and Son, 2002) and well as articles and papers across all his interests.

Away from photography Wall was an active Methodist and a volunteer with the North Yorks Moors Railway. His wife, Betty, predeceased him and he had five children. Ruth, Michael, Antony, Mary and David.

Dr Michael Pritchard


(1). Colin Osman, ‘A National Register of Photographic Archives’, Newsletter of the Royal Photographic Society Historical Group, No. 1 (June 1972), p. 4.

(2). John Wall, ‘Recording Britain’s Photographic Heritage’, Transations Leicester Literary and Philosophical Society, vol. 78 (1984), pp. 16-17.

(3). John Wall, ‘Towards a National Photographic Archive’, Journal of the Royal Society of Arts
Vol. 131, No. 5318 (January 1983), pp. 70-86. 

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12200959053?profile=originalThe BBC has today announced that it is gifting its collection of almost 1,000 historical objects to the National Media Museum as part of its celebrations to mark the 90th anniversary of the BBC.

This unique collection tells the story of British broadcasting, and specifically the BBC, from its earliest pioneering days in the 1920s right up to the present moment. The collection features important radio and television studio equipment used by the BBC over its 90-year history, plus production props, radio and television receivers, branding and merchandising objects.

A display of selected objects from the collection will open to the public at the National Media Museum, Bradford, on Wednesday 14 November - 90 years to the day since the BBC made its first radio broadcast.

The display will give people the opportunity to see some of the original artefacts that were used in the earliest years of the BBC, including seminal microphones such as one of the original Big Ben microphones used to capture the sounds of the bell in 1924; a nostalgic 'Lip microphone' dating from 1937, specially designed by the BBC to block background noise from sports commentary in the 1930s; and a famous 'biscuit tin' radio, dropped by parachute over occupied Europe during World War II and used by the resistance to tune into the secret 'personal messages' sent out over the BBC.

Other highlights from the collection, now incorporated into the Museum's National Television Collection, will feature in future displays. These include iconic objects such as an extremely rare Blattnerphone, the broadcast recording device which used steel tape to capture the voice of Neville Chamberlain as he announced the outbreak of World War II to the nation in 1939; the AXBT microphone, created by the BBC and now considered a design classic; and two original Emitron 405-line television cameras manufactured by EMI in 1936 and used at the BBC's television studios in London for the world’s first regular high-definition television service.

Robert Seatter, Head of BBC History, said:

"I know how absolutely fascinated audiences are to see the real objects that make broadcasting happen – whether it's that special microphone or the particular prop from a seminal TV show.

"I'm delighted that this BBC collection is being shared with the National Media Museum. I hope this donation will enable more people to connect with the history of the BBC, which of course is all our history."

Jo Quinton-Tulloch, Head of the National Media Museum, said:

"This generous and hugely significant gift will greatly enhance the National Television Collection held by the Museum, making it probably the best of its kind anywhere in the world. It also represents another major landmark in our flourishing partnership with the BBC."

Iain Logie Baird, Curator of Broadcast Culture at the National Media Museum said:

"This diverse collection of objects used by the BBC covers the evolution of public service broadcasting in this country, and celebrates the rich variety of programmes the BBC has produced over the decades. This collection will be a great asset to the Museum."

The BBC has gifted this collection to the National Media Museum in order to make it accessible to broadcast enthusiasts and the public in general through both temporary and permanent displays in the National Media Museum.

In another event marking the 90th anniversary, more than 55 BBC radio stations will come together for Radio Reunited – the first attempt at a simultaneous broadcast since what was then the British Broadcasting Company was formed in 1922. The broadcast will be live on the 14 November from the National Media Museum's sister museum - the Science Museum, now home to the original 2LO transmitter that made the first BBC broadcast on 14 November 1922. Part of the 2LO will feature in a new exhibition opening on the same day at the Science Museum that takes visitors back to the time of that first broadcast.

The National Media Museum is a longstanding partner of the BBC, the Museum has collaborated recently on a number of exhibitions and events, including the celebration of 25 years of popular TV soap EastEnders, the 75th anniversary of BBC high-definition (405-line) television last year, and the hugely successful exhibition marking 50 years of Blue Peter. This year, the Museum's Cubby Broccoli cinema was fitted to show the BBC's special Olympic coverage using Super Hi-Vision Ultra high-definition television, developed by Japanese broadcaster NHK, one of only three sites to do so in the UK.

Image: Iain Logie Baird, curator of broadcast culture at the National Media Museum, holds a 1944 Marconi AXBT microphone

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12200959870?profile=originalMartin Barnes, Senior Curator of Photographs at the Victoria & Albert Museum, will be at the Blau Gallery, London, on 22 November to talk about the history of how the museum’s collection was formed and how that set the pattern for current collecting. He will discuss the ‘collecting plan’ and recent collecting initiatives, as well as what catches his eye personally, what he sees too much of and avoids, and what he is looking for in excellent photography that is right for a museum.

Advance questions for Martin to address on the night of the talk are encouraged, and can be sent to

This talk runs from 6:30 pm at 51 Hoxton Square, London N1 6PB.

Our talks are open to everyone. We recommend booking early to avoid disappointment, as numbers are limited. Tickets cost £6..Click here to book. 

Image: Photographic Society exhibition at the South Kensington Museum, 1858. 

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12200957453?profile=originalFor Michael Collins, one of the wonders of photography is that a photograph can record and show far more than could be observed at the time and occasion of the exposure.  This is what he regards as the "long look" of photography.  Moreover, he subscribes to the understanding that, subtly or otherwise, it will reveal the nature of the engagement between the photographer and the subject.  In his Reference Works lecture, Michael Collins will discuss these principles, and relate how they inform his work on the Library of Birmingham Photography Project.

Michael Collins is an artist who has had his work exhibited widely in Britain and the USA. He is the author of "Record Pictures: Photographs from the Archives of the Institution of Civil Engineers" (Steidl 2004). His exhibition "Birmingham Site Specific: Factories" was held in Hockley in 2006.

The event is part of a series of Photographers Talks linked to REFERENCE WORKS, the Library of Birmingham Photography Project.


Tuesday 4 December 2012

2.00 - 3.30pm

Birmingham City University, Visual Communication, Gosta Green, Birmingham

Admission Free

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12200965298?profile=originalInternational submissions are invited to be included in a  forthcoming book, to be published by MuseumsEtc in 2013. The book will bring together the varied ways in which reflexivity manifests itself within photography and the photograph. In this instance we are taking a broad approach to the term (as evidenced in the suggestions below), where “reflexivity” is used to describe:

  • The  methods and dialogues that practitioners use to interrogate their own work
  • The manner in which these devices enable the photographer to engage in an exchange with the work of others and with the world around them
The publishers are seeking chapters that deal with a wide range of issues in relation to the principle of the reflexive photographer. This could encompass - but is not limited to - conceptual, cultural, historical and visual concerns relating to:
  • The historical perspectives of reflexivity
  • The photographer making visual work that is reflexive
  • The photographer writing about and reflecting on their own work
  • The use or affect that the materials of photography (the lens, the camera, etc.) have on reflexivity
  • The photographer using notebooks and sketchbooks (or equivalent) as a reflexive tool
  • The use or affect that different types of editing have on reflexivity
  • The photographer writing about the work of others as a reflexive tool
  • The analysis of seminal texts from key photographers
  • The interview as a means to reveal reflexivity
  • The examination of reflexivity where more than one practitioner is at work
  • The use of the photograph as a form of life writing
  • The use of reflexivity in the context of photography in the digital sphere
Additionally, they are interested in examining different formats for reflexivity:
  • The book
  • Correspondence
  • The manifesto
  • The blog
  • The diary
  • The travelogue
  • The exhibition
  • Exhibition commentary, interpretation and/or the exhibition catalogue
  • The photo collective or group
This list is not exhaustive and proposals on other themes are welcomed.
Proposals are welcomed from writers, academics, photographers, curators, artists and other visual practitioners.

Submitting a proposal
If you are interested in being considered as a contributor, please submit a proposal (using Microsoft Word) of between 300-500 words with a short biography and CV (which, combined, must not exceed two sides of paper). Should your proposal be accepted the length of a chapter will be 2000-6000 words or, if you are proposing a visual work, you will have between 6-8 pages. Please prepare your proposal with these parameters in mind. The work should not have been published elsewhere.
The deadline for submissions is 10 December 2012. Please email your proposal to If you have any queries please email Rosie Miller at
The book will be published in print and digital editions by MuseumsEtc in 2013. Contributors will receive a complimentary copy of the publication and a discount on more.

Edited by Rosie Miller, Jonathan Carson and Theresa Wilkie
(School of Art & Design, University of Salford, UK)
The Editors
Rosie Miller is a Lecturer and Critical & Contextual Studies Area Leader in the School of Art & Design, University of Salford, UK. Jonathan Carson is Associate Head (Academic) and Senior Lecturer in Critical & Contextual Studies in the School of Art & Design, University of Salford, UK. Theresa Wilkie is Director of Design & Culture and Senior Lecturer in Critical & Contextual Studies in the School of Art & Design, University of Salford, UK. All three previously edited Photography and the Artist’s Book (MuseumsEtc, 2012).
Completed papers are likely to be due for submission at the end of March 2013. The final submission date will be advised to successful contributors.
More information can be downloaded here.
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