All Posts (25)

Sort by

12201085687?profile=originalThis new book is not just a dating guide to old photographs, but is also a celebration of Somerset’s photographic history, as seen through the lives and work of nearly 800 photographers. It will appeal to family, local, social and photographic historians, including collectors, as a reliable and indispensable reference source on the subject.

The accompanying DVD contains more than 1,500 images and mini-biographies of each of the photographers. All three authors have experience in local history research and are keen photographic collectors.

The book is available from 28 September and orders will be processed by the publishers, the Somerset & Dorset Family History Society via its online shop, It is also available to order from booksellers.

Secure the shadow. Somerset photographers 1839 – 1939
Robin Ansell, Allan Collier and Phil Nichols
Somerset and Dorset Family History Society, 2018. 

Read more…

12201089059?profile=originalBPH reported on two auctions which took place late last year.and included material relating to the early photographer and experimenter Alfred Swaine Taylor.  A further, and final group of material is being offered by Lacy Scott & Knight on 5 October as the Alfred Swaine Taylor family collection. The auction is split in to three general areas: personal, science and medicine and photography. 

The auction lots can be seen here:

Read more…

12201082056?profile=originalLondon's Photofusion is running a four-day alternative process summer week where you can learn how to:

Day 1: Make Digital Negatives suitable for Alternative/Historical Processes.
Richard Wills – Tuesday August 21, 11:00 – 17:00.

Day 2: Make Salt Prints (and Gold toning).
Paul Ellis – Wednesday August 22, 12:00 – 18:00.

Day 3: Make Kallitypes (poor man’s Platinum) & Platinum Prints.
Paul Ellis – Thursday August 23, 12:00 – 18:00.

Day 4: Make Wet-Plate collodion positive images with Large Format Cameras.
Daniel Barter – Friday August 24, 10:30 – 17:30.

Photofusion provides all chemicals, paper, equipment ‘etc’. You need to bring images on hard-drive which will be made into Digital Negatives on Day 1.

Find out more and book:

Read more…

12201085860?profile=originalThis event accompanies the Radical Visions exhibition at Four Corners Gallery, and the launch of its new digital archive. It will consider Camerawork's engagement, role and influence with community-practice, feminism and representation, and ask how its broader legacy can be understood within the context of today’s cultural politics.

Thursday 28 June, 2:00-6:00pm

Birkbeck, University of London, Bloomsbury. Room to be confirmed.

Radical Visions: the cultural politics of Camerawork 1972-1985

A Collaborative Symposium

Four Corners with History and Theory of Photography Research Centre, Birkbeck

Speakers include:

Mathilde Bertrand, Université Bordeaux-Montaigne

Patrizia Di Bello, Birkbeck, University of London

Steve Edwards, Birkbeck, University of London

David Evans, writer & photo-montage artist

Carla Mitchell, Four Corners

Don Slater, London School of Economics

Amy Tobin, University of Cambridge

The event is free, but we ask you to register:

Image:  Claire Schwob, from Women exhibition, Half Moon Gallery 1974

Read more…

Free download: Canada in the Frame

12201081491?profile=originalCanada in the Frame explores a photographic collection held at the British Library that offers a unique view of late nineteenth century and early twentieth century Canada. The collection, which contains more than 4,500 images, taken between 1895 and 1923, covers a dynamic period in Canada’s national history and provides a variety of views of its landscapes, developing urban areas and peoples. Colonial Copyright Law was the driver by which these photographs were acquired; unmediated by curators, but rather by the eye of the photographer who created the image, they showcase a grass-roots view of Canada during its early history as a Confederation.  

Canada in the Frame describes this little-known collection and includes over 100 images from the collection. The author asks key questions about what it shows contemporary viewers of Canada and its photographic history, and about the peculiar view these photographs offer of a former part of the British Empire in a post-colonial age, viewed from the old ‘Heart of Empire’. Case studies are included on subjects such as urban centres, railroads and migration, which analyse the complex ways in which photographers approached their subjects, in the context of the relationship between Canada, the British Empire and photography.

Canada in the Frame
Philip J. Hatfield 
June 2018

Open Access PDF
ISBN: 978‑1‑78735‑299‑5

ISBN: 978‑1‑78735‑301‑5
ISBN: 978‑1‑78735‑300‑8
Pages: 260

UCL Press

Download free:

Read more…

12201088478?profile=originalThe Photographers' Gallery is the UK’s leading centre for the presentation and exploration of photography in all its forms and a dedicated home for an international photographic community. Established in London in 1971, the Gallery has been instrumental in reflecting photography’s pivotal role in culture and society and championing its position as a leading art form through a rich programme of exhibitions, talks, events, workshops, courses and other activities


The Development Team is primarily responsible for fundraising for the annual revenue needs of the Gallery’s programme of activities, beyond what is already generated by the Gallery’s enterprises (Print Sales, Bookshop and Café). The funding relationship with our major stakeholder, Arts Council England (ACE) is primarily handled by the Director and Deputy Director

Role Summary: 

This is an exciting opportunity to join a small, resourceful and dynamic team at The Photographers’ Gallery. The Development Coordinator will have the opportunity to learn about arts fundraising working across all income sources: Individuals, Corporates and Trusts and Foundations. All team members are offered external and internal training for fundraising skill development. The Development Co-ordinator will play a central role in the team, assisting with the day to day administration, patronage fulfilment and administration, coordination of departmental mailings for upcoming events and communications and research projects as instructed by other members of the team. 

To apply please download an application form from and email completed applications to

Deadline for applications 5 July 2018

Read more…

12201086471?profile=originalA new exhibitions which examines pictorialism has opened at the museée Nicéphore Niépce and runs until 16 September 2018. Curated by Dr Julien Faure-Conorton Artists' Visions offers a new, broader, view of European pictorialist photography. The exhibition presents recent research and discoveries and is the first exhibition dedicated to pictorial photography in France for over a decade. 

Sourced in the collections of the musée Nicéphore Niépce that preserves works by Robert Demachy and Charles Lhermitte, as well as prints by Constant Puyo, José Ortiz-Echagüe and Alfred Fauvarque-Omez, the exhibition brings together over two-hundred vintage prints. They are the work of various authors, some well-known, others less so. Most of the prints are being shown for the very first time. They were created over a seventy-year period, from the early 1890s to the late 1950s, showing that pictorial photography did not disappear after the First World War, contrary to the established histories of photography would lead us to believe.

12201087054?profile=originalOffering an updated, broader vision of the pictorialist endeavour on a European scale, Artists’ Visions results from recent research and discoveries and is the first exhibition dedicated to pictorial photography for over a decade in France. This exhibition challenges the established narrative and offers a new history acknowledging the permanence of the pictorialist ideals. These ideals were built on a shared ambition: to create photographs that wanted to do more than simply reproduce the real, photographs that truly interpreted it, like an artist’s vision.

Pictorial photographers, in their quest to free photography from the simple function of documentary reproduction to which it had been reduced since its invention, strove to create images where personal feelings took precedence, images that expressed something poetic or dreamlike, that suggested more than they showed, producing, above all, an impression, aiming to provoke a feeling, an emotion in the viewer. To do so, pictorial photographers resorted to interpretation, meaning the intervention of the artist in the photographic process using various technical tools aimed at transforming the aesthetics of the image so that the original photograph (the negative) gave birth to an artistic picture (the exhibition print). At the turn of the 20th century, pictorial photography was extremely popular worldwide with thousands of followers who spread their works in ambitious international exhibitions and luxurious publications.

12201087273?profile=originalThe exhibition is curated by photography historian Dr Julien Faure-Conorton in connection with Sylvain Besson at the musée Nicéphore Niépce.

A catalogue is available and can be had by emailing:

Musée Nicéphore Niépce
28 quai des messageries
71100 Chalon-sur-Saône
+33 [0]3 85 48 41 98

Read more…

12200995860?profile=originalThe DGPh History of Photography Research Award 2018 will be open for all elements of research into photography's many aspects. Besides aspects of traditional history and theory of photography, topics will be considered that deal with photography's social meaning, or the impact that the medium has had on society. The applicant's work should represent an autonomous, innovative, and original contribution to these areas. The award is particularly aimed at young scholars.

The award is open to researchers from all fields. Applications and manuscripts for the DGPh History of Photography Research Award may be submitted in either English or German. Applications should consist of a published or unpublished manuscript produced during the last two years before the deadline. Project outlines, or yet unfinished manuscripts etc. will not be accepted. Allocation will be the decision of an expert jury. The award is endowed with a total of 3,000 Euro. The jury holds the right to split the prize between two applicants in equal parts. The award will be handed over at a public event organized by the DGPh.

Submission requirements are the following pdf-files:

- A complete manuscript as electronic file form
- An abstract of the submitted work (approx. 300-500 words)
- A curriculum vitae
- A list of publications

The final date for submissions is the 30 September, 2018.

Submissions should be send online under:

More information about the German Photographic Society:

Read more…

12201085277?profile=originalThe National Portrait Gallery has acquired eleven portraits, including one self portrait, shown right) by Philippe Garner. Garner will be known to many as an auctioneer who started the first auctions of photography in the United Kingdom in 1971 at Sotheby's before he moved to Christie's, where he is remains a consultant. 

Garner had kept his interest as a phootgrapher discretely hidden during his auction career but his subjects reflect his involvement with photography, and include curators, photographers and critics. He felt the time was now right to make his own photography public. 

Read an interview with Garner here where he talks about his own photography.

See his 11 images here:

Read more…

12201084873?profile=originalWe are recruiting for a full time Curatorial Project Manager, a key role in our newly expanded curatorial and archive team of four.

You will provide the project management and logistical support necessary to develop and deliver our dynamic curatorial programme of exhibitions on and off site, publications, artist commissions, residencies, special projects & associated archive, collection and editions related activity.

You will also have the opportunity to make curatorial proposals for possible inclusion our programme.

Application deadline: Monday 9 July 2018 by 5pm.

Download the job pack and application form below. If you have any questions about the role or application process, please contact or phone 020 7729 9200.

Read more here:

Read more…

12201083481?profile=originalExhibiting historic photography is no easy task. To start with, it’s a conservator’s nightmare: nineteenth-century prints are physically fragile and chemically unstable and any prolonged exposure to light causes irremediable damage. Add to this the fact that they are usually quite small black and white objects that show blurred scenery and unsmiling faces and you are forced to compose with a rather dark exhibition space in which you ask visitors to squint at little images that will inevitably remind them of history textbooks. Naturally, this runs the risk of being—well—boring.

In recent years, curators have sought various solutions to these challenges. Betty Yao and Narisa Chakrabongse, the two behind China and Siam Through the Lens of John Thomson, currently on display at the Brunei Gallery in London until June 23rd, have gone the route of making large canvas-sized prints from scans of original glass negatives. John Thomson was a Scottish photographer who, from 1862 to 1872, travelled through Siam, Cambodia and China and is credited with some of the earliest photographic records of these countries. Seven hundred of his negatives are now housed in the Wellcome Library’s collection and were recently the subject of a major digitization project. Despite their impressive resolution, the modern inkjet reproductions featured in the exhibition are vastly different from Thomson’s original prints in scale and, in most instances, in colour (though some have been printed in a sepia that emulates the tone of albumen).


What this exhibition provides is the photograph as artwork; something perhaps more familiar to today’s gallery-goer than the travel books in which Thomson’s photographs originally appeared. We are told to look for detail, to marvel at the photographer’s sensitive portraits and his mastery of the medium. This is standard museum language and seems to justify the radical enlargement of the images. There are indeed many advantages to displaying reproductions of these dimensions: conservation concerns are drastically lessened and these big prints are far easier to exhibit and to appreciate than illustrations bound into volumes or glass negatives. But at this size, a format which would have been simply impossible for Thomson to achieve, it becomes difficult for the viewer to assess the photographs as anything other than aesthetic objects, making a critical eye harder to muster. For that, you need to look beyond the gorgeously framed piece to the material context in which the original prints were imbricated. “Photographs are always embedded,” visual geographer Gillian Rose has said about the use or misuse of historic photographs, and it is this embedded-ness to which we must turn for the underlying intent of an image. [1]

No doubt sensing this need for contextualization, the curators chose to display copies of both Thomson’s The Straits of Malacca, Indo-China and China and a volume of his Illustrations of China and its People. However, they appear to have missed an opportunity to inform their viewers of the content of these publications and how Thomson’s photographs were mobilized as proof of the imperialist views expressed within their pages. James R. Ryan has remarked that Thomson’s work in China in particular was motivated by a desire to showcase the country’s commercial potential as a British colony. [2] Like many of his contemporaries, he perceived China as a rather primitive nation which was in dire need of the civilizing influence of Europe and this, he believed, could be achieved through trade, urban development and the adoption of Western lifestyle. Thomson’s opinions, then, expressed as much through his writing as his photography, is not exactly what we would call PC nowadays. Further, Illustrations of China and Its People, in which many of the Chinese photographs included in the exhibition first appeared, made use of the ethnographic convention of classifying people into racial and occupational categories—a practice which reaffirmed harmful Orientalist stereotypes. [3] The exhibition text, however, prefers to frame these images as “vivid tableaux of street scenes [that] bring to life activities now vanished forever,[4] painting Thomson as a conscientious and curious documenter rather than an advocate of Empire. This is not to say that either of these descriptions of Thomson’s character is more accurate than the other, but a more nuanced and perhaps less celebratory presentation of the photographer might have been more appropriate.


All this being said, Yao and Chakrabongse’s show is remarkable in that it has overcome the practical challenges many exhibitions of historical photography face. It is definitely far from dull and the state-of-the-art technology employed to digitize Thomson’s negatives has yielded truly impressive results. Moreover, despite the modernity of the prints, a discussion of early photographic processes is dutifully taken up in the display of an old wooden camera, a short video explaining the wet collodion process and by a photograph of one of Thomson’s actual negatives. The selection of images, a mix of pleasant scenery and moving portraits, provides an interesting overview of the photographer’s work in Asia. But above all, the curators must be congratulated for bringing these archival objects, which might otherwise have remained unnoticed, to the attention of the public, even if this meant transforming them in significant ways. Though this strategy certainly has its drawbacks, there’s no arguing with the exhibition’s excellent track record: the show has been running in various iterations since 2009. And the Brunei Gallery is far from its last port of call. Following London, you can find China and Siam Through the Lens of John Thomson at the Russell-Cotes Museum in Bournemouth from November to March and at the New Walk Museum in Leicester from February to March.

[1] Gillian Rose, “Practising Photography: An Archive, a Study, Some Photographs and a Researcher,” Journal of Historical Geography 26. 4 (2000): 556.

[2] James R. Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997), 62-64.

[3] Ibid., 163.

[4] Exhibition label from China and Siam Through the Lens of John Thomson, Brunei Gallery, 13 April - 23 June 2018.

Read more…

12201082694?profile=originalKent Museum of the Moving Image (MOMI) is a not-for-profit museum that explores the deep history of the moving image — from the days of candle-lit magic lantern performances and hand-painted slides, through Victorian visual experimentation, to the advent and heyday of the cinema.

The museum is situated in the heart of the picturesque Kent seaside town of Deal, two minutes' walk from Deal Railway Station and Deal Pier and Seafront.

The Kent MOMI website is live at

Read more here:

Read more…

12201071468?profile=originalWe are looking for a specialist to set up and lead a new photographs department within a thriving and expanding  Auction House.  Our client is aiming  to establish themselves in the middle market for the sale of photographs that span the history of the medium but which may initially focus on modern, post-war and contemporary photography.

The successful candidate will have an excellent understanding of photographs and the marketplace, and have the skills and aptitude to establish the department.

Areas of Responsibility

Responsibilities include but are not limited to the following:

Strategic and business development

  • Develop business contacts and strategic opportunities, including developing auction and private sales strategies
  • Identify and maintain relationships with all client categories (collectors, dealers, galleries etc), and particularly the ability to work with major clients in the consignments and sale of high value property
  • Liaise on material in the field with other internal departments: pre-press, marketing, public relations etc.
  • Proactively research and gather information into the marketplace/trends/buying & selling patterns

Valuations, cataloguing, pre and post-sale responsibilities

  • Analyse and respond to incoming written, phone and photo enquiries to determine sale potential
  • Work alone and with colleagues to determine provenance, authenticity, value, condition, and marketability of property
  • Write and prepare catalogue essays, work on catalogue production and layout, as appropriate
  • Coordinate pre-sale exhibition set-up
  • Work with buyers during sales, including weekend exhibitions, to market and sell the sale
  • Work with the Marketing team, to help develop a coordinated marketing plan to achieve budgeted sale totals
  • Participate in telephone bidding with clients during the auction
  • Participate in the full after-sales analysis, and implement any agreed changes


  • Ensure compliance with all internal policies and procedures and any relevant external bodies or processes
  • Participate in organization-wide meetings, activities and processes, and develop internal contacts, networks and interactions as appropriate
  • Actively participate in events, valuation days, and other functions to represent the client
  • Carry out other duties as required 

Person Specification

Essential skills and experience

  • Extensive experience in the field, either at auction, within the trade or at another relevant institution e.g. gallery or own business
  • Proven ability to develop relationships with the major collectors, dealers and galleries
  • Excellent writing skills in English, and ability to combine an understanding of the material with a commercial sense of marketing and promoting value
  • Excellent verbal communication and interpersonal skills, including first class spoken English
  • Ability to work to tight auction deadlines, balancing photography, cataloguing, sale organisation, marketing and promotional details
  • Experience working with on projects of all sizes, long- and short-term; demonstrated ability to prioritise a variety of concurrent projects
  • Excellent knowledge of the Microsoft Office Suite (Word, Excel, PowerPoint, SharePoint, Outlook etc)
  • Superior client service skills
  • Strong follow-up skills with attention to detail
  • Ability to thrive within a fast-paced team environment

Desirable qualifications

A qualification relevant to the field e.g. degree in photography, contemporary art, fine art

Closes 10 July 2018

Apply here:

Read more…

12201081282?profile=originalGroup of Reportedly Altered Daguerreotypes with Dubious Signatures, etc. Appears on Market and Includes Daguerre, Le Gray, the Bisson Frerer and Th. Jacobi. This is an article from my E-Photo Newsletter on a group of reportedly fake signatures on actual 19th-century daguerreotypes. If you'd like to be included on our free email list for the newsletter, just comment, or email me your details.


Read more…

12201080276?profile=originalRichard Ovenden's lecture will explore the life and work of one of the greatest innovators in the history of the photography. John Thomson was the first to photograph the ruins of Angkor Wat, the first Western photographer to travel extensively in the interior of China, and the first photojournalist to document the lives of everyday people on the streets of Victorian London. His life and work will be set in context and will focus on the major contributions he made to the establishment of photography as one of the great modern means of communication.

Richard Ovenden is Bodley’s Librarian at the University of Oxford. His book John Thomson (1837–1921) Photographer, published two decades ago, remains one of the most authoritative works on John Thomson.

There will be an opportunity to visit the exhibition at the Brunei Gallery - China and Siam: Through the Lens of John Thomson after the lecture.

Thursday, 14 June 2018
18:00 – 20:00
DLT Lecture Theatre, SOAS, University of London, Thornhaugh Street, Russell Square, London, WC1H 0XG

Click here to book

If you would like to donate to support a project to restore Thomson’s grave, you can make a contribution via JustGiving, at

Read more…

12201087678?profile=originalThe Icon Photographic Materials Group, Tru Vue and The National Archives are delighted to announce an evening lecture by Professor Debra Hess Norris, titled: I’ve Just Seen a Face: The Preservation of our Global Photographic Heritage. 

Photograph and film collections are held in museums, libraries, archives and private homes all over the world: they document our global heritage. These materials are deteriorating owing to exposure to poor environmental conditions, inadequate storage, and natural disasters. During this presentation, Debra will introduce the fundamental properties and care of photographic print and negative collections and address why their preservation is vital and relevant.

The lecture is aimed at conservators, historians, curators, photographers, artists and collection managers as well as interested non-specialists. The talk will be followed by a drinks reception.

Debra Hess Norris is Professor of photograph conservation at the University of Delaware, and an internationally renowned author, teacher and lecturer.

Tuesday, 10 July 2018
18:00 – 21:00
Cost: £5-£10

Read more…

12201079888?profile=originalIn the nineteenth century, Scotland was a pioneer of photography. A leading practitioner was George Washington Wilson, whose innovations in stereoscopic photography created some of the most captivating 3D images. Join photographic historians Dr Brian May and Professor Roger Taylor as they trace Wilson’s career, show key examples of his work using a stunning new 3D projection system and present their accompanying book, George Washington Wilson, Artist and Photographer, published by the London Stereoscopic Company.

To book:

For those unable to attend the book is available from 20 July, published by the London Stereoscopic Co. It is a heavily revised and updated version of Taylor's original 1981 publication. 

Read more…

12201082673?profile=originalPhotoworks is seeking to recruit a new Chair to lead its Board of Trustees, plus several new Board members to help guide its vision and development.

We are passionate about photography, a medium which has never been more influential on contemporary culture. We commission, produce and distribute projects that participate in and comment on the role of photography in society. We have a particularly strong focus on supporting emerging talent and helping artists develop their practice.

We are seeking a Chair who shares our commitment and passion, with the knowledge and experience to support Photoworks and its mission. We are also seeking several new members to join our Board of Trustees.

No remuneration will be made, but travel and out-of-pocket expenses can be reimbursed where required.

Benefits of joining the Photoworks Board include:

• Helping to shape a growing organisation to realise the potential of its remit.
• Championing and supporting emerging contemporary photographic practice.
• Promoting new modes of presentation and audience engagement.
• Extending networks of contacts.
• Helping Photoworks deliver its national remit across the UK and build partnerships internationally.

See more here:

Read more…

12201082074?profile=originalIt’s working as one team to deliver impressive projects. And it’s the satisfaction of presenting, and promoting, one of the world’s greatest and most diverse art collectionsThis is what makes working for Royal Collection Trust so different.

In terms of both quality and diversity, our collection of photographs is breath-taking, with works dating from the 1840s to the present day.

It's a 'living' collection, yet there are fascinating stories here that have lain untold for decades. Joining the team at the heart of uncovering these, you'll help to research and bring them alive – not just through inspiring exhibitions but also catalogues, presentations and displays.

Developing your own expertise, as well as the teams' knowledge, you'll also share your discoveries with a wider audience through presentation and interpretation.

At the same time, you'll make sure the photograph collection has proper custodial control, and will edit and update existing online records, ensuring they are accessible and easy to navigate.

Drawing on expertise from teams across Royal Collection Trust, collaboration will be part of your daily routine and will be key to your success.

But, above all, your passion for engaging people with history will help to preserve the photographic heritage of this unique collection.

Read more and apply here:

Read more…

12201082661?profile=originalThis is a French photo, but I believe may have British interest. I am looking for any information. Albumen print by Antoine Samuel Adam -Salomon, Sculptor in Paris. He was a rival of Nadar. 

This print was sold in New york, 1996, by the Lunn gallery, Ltd. As stated in their catalogue, 'Isabelle, May be the daughter of Franz Liszt'.  I have no idea if this is true, but Adam-Salomon did photograph both Liszt and his wife.

My research has lead me here; Curiously, Oscar Rejlander photographed a similar portrait of a young girl reading, She was Isabele Somers-Cocks, later Lady henry Somerset,daughter of JMC's sister, Virginia.

So, I have various spellings, Isabele, iIabelle, Isabella. and i am confused.

I still think its a stellar photo. Tell me what you think.12201082879?profile=original12201083659?profile=original

Read more…

Blog Topics by Tags

Monthly Archives