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To truly lead our curatorial department, build our research profile, develop our collections and deliver content for an ambitious 'masterplan', we are looking for a Head Curator to join us at the National Science and Media Museum (NSMM), in Bradford, on a permanent basis.

In this role, you will champion your team to realise our ambitions to collect more contemporary materials, developing and maintaining our collections and creating innovative ways to engage our visitors. You will also be a senior leader at NSMM, communicating our vision to stakeholders, promoting a culture of high performance and encouraging collaborative practice, as well as raising our museums profile and expanding our networks. 

Joining us, you will use your significant experience of curating collections and communicating stories in unique ways. Having experience of team leadership and skills at strategically managing budgets you will be passionate about working collaboratively, bringing a well-established network to advocate for best practice and sharing knowledge to develop our collections.

You will be offered excellent benefits including 27 days annual leave in addition to 8 bank holidays, the ability to join our pension scheme, BUPA medical and dental healthcare and an interest free loan offer whilst developing your career in a world class museum group.

Click here to view the Vacancy Information Pack which provides you with details of the role and supporting statement questions.

More here too.

While working through the British Journal of Photography I came across a reference to John Traill undertaking a photographic expedition to Orkney in June 1860 (listed by Peter Stubbs on his Edinphoto website) . He read a paper on it to the Edinburgh Photographic Society on 17 July 1861, published in the Journal on 1 August p. 269. He had with him a stereo camera and a 12 x 10" plate camera.... but where are his photographs? This is in fact John Traill Taylor, who became editor of the BJP from 1864 and spent time in America where he set up The Photographic Times. See: http://www.luminous-lint.com/app/photographer/John_Traill__Taylor/A/

There is one stereo pair in the Orkney Library that may be his work: http://photos.orkneycommunities.co.uk/picture/number25396.asp

It shows the 'Prince Consort', the vessel he took from Edinburgh to Kirkwall in June 1860.

This is not simply another colloquium about African photography within the field of visual studies. It is concerned with the question of how histories are written or assembled, and the materials that are drawn upon to narrate or analyse the past of the African continent, and the relationships between them. The field of African history is usually dominated by texts and oral-based accounts. When we ask what images (particularly photographs) do to the constitution of pastness and how it is narrated, this opens another kind of discussion. Fundamentally this is about the way photographs sit in uneasy and ambiguous relation to other materials generated in the past. They organise time and space differently. 'Photographs change everything’ (Edwards). What analytical opportunities do these insights open to us?

One part of this thinking concerns the disruptions of photographs when brought into conversation with other historical materials. There is a discursive association of history with what is visible, and what is usually taken into account archivally, which photographs are not. Does this mean that photographs constitute a kind of historical unconscious, at the edge of history? 

A further part of our thinking is stimulated by the way photographs themselves work ‘at the edge of sight’, which goes beyond normative ways of seeing of, or through, photographs. Our keynote lecture will be presented by Shawn Michelle Smith of the Chicago Art Institute, author of On the Edge of Sight and co-editor of Photography and the Optical Unconscious. 

Papers are not geographically confined to the African continent. We invite papers that address the more general methodological and theoretical challenges of working with photographs in relation to other archives and media. Abstracts should be sent to visualhistoryuwc@gmail.com. Full papers for pre-circulation will be requested several weeks in advance of the workshop. 

The workshop is organized by the National Research Foundation (NRF) SARChI Chair in Visual History and Theory, Centre for Humanities Research, University of the Western Cape. All workshop accommodation and meals will be covered. A limited amount of funding is available for travel costs.  

Deadline for abstracts: 31 July 2018

Contact: Patricia Hayes, visualhistoryuwc@gmail.com

On the Edge of History: Photographs and African Archives 

International Workshop on Visual History & Theory

Cape Town

27-28 September, 2018

The University of St Andrews Library, Special Collections Division will be hosting a conference on Stereo Photography from 18-19 October, 2018 in conjunction with the St Andrews Photography Festival 2018: (Stereo)Views of Scotland.

The topics are broad reaching and will cover both the historic as well as the contemporary; from the rivalry between Sir David Brewster and Charles Wheatstone to how we have used, understood and interacted with 3D photography over the past two centuries.

This two day conference is an opportunity for researchers, historians, photographers, collectors, curators, collections staff and photo-enthusiasts alike to come together, in the home of Scottish Photography and picturesque town of St Andrews to gain a better understanding of the birth, development and evolving media that is stereoscopy.

All 3D presentations throughout the conference are delivered with the generous support of the London Stereoscopic Company.

For registration and to see the full programme click here: http://ow.ly/oI7m30l6KX9

The V&A Museum has released details of forthcoming exhibitions which include a number of photography shows, although many of the other highlights will include photography. 

V&A Photography Centre / Opening 12 October 2018
The world’s first photographic experiments, pictures by 20th century greats Alfred Stieglitz and Edward Steichen, recent
acquisitions by Linda McCartney, and newly commissioned works by Thomas Ruff are displayed as phase one of the V&A’s new Photography Centre opens this October. Designed by David Kohn Architects, the first phase of the Centre more than doubles the space dedicated to photography at the V&A, and includes a ‘Dark Tent’ projection space and digital wall to show the world’s most cutting-edge photography. Drawn from the V&A’s world-class collections, not least the Royal Photographic Society Collection, the first temporary displays bring together 600 objects from across Europe, North America, Africa, the Middle East and Asia to trace a history of photography through the lens of collectors and collecting.

From Daguerreotype to digital, highlights on display will include the work of early colour photography pioneers, Agnes Warburg, Helen Messinger Murdoch and Nickolas Muray, and recent acquisitions by Hiroshi Sugimoto, Cornelia Parker and Mark Cohen. A pioneering botanical cyanotype by Anna Atkins, images by the world’s first female museum photographer, Isabel Agnes Cowper, and motion studies by Eadweard Muybridge, join photographs by some of the world’s most influential modern and contemporary photographers, including Eugène Atget, Man Ray, Walker Evans, Cindy Sherman and Martin Parr.

Dorothy Bohm / 3 November 2018 – 17 March 2019. Museum of Childhood
This intimate and joyful display of works by eminent photographer Dorothy Bohm explores the universality of childhood. Bohm escaped Nazi Germany for Britain in 1939 with a Leica camera, a parting gift from her father. She went on to help establish the Photographers’ Gallery in 1971, has written several books and has exhibited her work internationally. On display will be highlights from Bohm’s vast collection of photographs of children, taken over the last 75 years from around the world. Despite her photography  covering so many decades, different cultures and countries, our shared experiences of childhood shine through in Bohm’s unique and exceptional photographs.

Tim Walker HonFRPS / 7 September 2019 – 8 March 2020 / Tickets on sale Spring 2019
This exhibition is an immersive journey into the fantastical worlds created by photographer Tim Walker. The V&A has been a continuous source of inspiration for Walker over the past 25 years and at the heart of the exhibition will be a brand new series of photographs directly influenced by his research into the V&A’s enormous and eclectic collection. The show pays tribute to Walker's distinctive contribution to image-making,

while also exploring the work of his creative collaborators. It will shine a light on the important roles played by set designers, stylists, make-up artists, models and muses, who all help bring Walker's unique ideas to life. Designed by leading British art director Shona Heath, the exhibition encompasses photographs, films, photographic sets and special installations across the museum, providing a behind-the-scenes look at the creative process of one of the world's most inventive photographers.

Across Science Museum Group, our curatorial team are committed to inspiring futures by sustaining and growing our world-class collection and delivering a creative and bold programme of outputs including exhibitions, galleries, events and online narratives.

To support this vision, we are looking for an Associate Curator of Broadcast and Television to join us in at the National Science and Media Museum, in Bradford, on a 12-month, fixed-term contract.

In this role, you will work across the breadth of our subject area, undertaking research to identify objects, create rationales for acquisition and disposal and draw out meaning from our extraordinary media collections, whilst allowing you to develop your existing understanding in the material culture of broadcast and film.

Joining us, you will bring excellent collections development experience and storytelling ability, allowing you to carry out research and work with specialists to communicate your knowledge of the history of broadcasting and television to non-specialist audiences.

You will be offered excellent benefits including 25 days annual leave in addition to bank holidays, BUPA medical and dental healthcare, the ability to join our excellent pension scheme, an interest free loan offer and numerous staff discounts whilst developing your career in a world class museum group.

For further information please visit our website http://bit.ly/2Jy0fgp

Hello, my name is Julia Green and have just recently joined this group.  I am particularly interested in the cdv/cabinet world of photography and more specifically the work of two of my photographer ancestors.  I began collecting their works around 18 months ago and like most collectors search on-line daily in the hope of finding examples .... so, I couldn’t resist the opportunity to ask if anyone has any photographic works by R.V.GREEN, COVENTRY or his brother A.V.GREEN, ATHERSTONE, I would love to hear from you.  At the moment I have around 60 cdv’s and cabinet cards of the GREEN brothers but they were long standing photographers so I’m hopeful there’s more to find! I’m also confident that I’m going to learn more about Victorian photography from other members in the group. 

Hello, I am seeking information about this leather case, marked Lock & Whitfield, 178 Regent Street. It looks like an average daguerreotype case, but the size is very large, and doesn't seem to correlate to known sizes.

The exterior is 18.3cm x 15.8cm. (7-1/8 x 6-1/4 in.)

The glass inside is 16.5 x 14 cm. (6-1/2 x 5-1/5 in.)

I know Lock and Whitfield through their Woodburytypes -Men of Mark,1870s-80s, But this appears to be earlier. Since the mark doesn't include the King's Road location, founded in 1864, I assume this is earlier.

Could it be a case for a half plate dag with a very large gilt matte?

Or perhaps another sort of image?

Any information would be appreciated.

David

The National Trust for Scotland is inviting papers for the first Morton Photography Symposium, to be held on Tuesday 9 April, 2019 at Broughton House & Garden, Kirkcudbright: The Camera, Social Networks and The Inaccessible, from the Nineteenth Century to the Present Day. This symposium is inspired by a collection of photographs held at Broughton House in Kirkcudbright; the home of Scottish painter, Edwin Atkinson Hornel.

Comprising glass plates and prints taken in Japan, Ceylon (now Sri Lanka), Burma (now Myanmar) and Scotland, the collection shows how photographs inspired Hornel’s artwork.  He joined a photographic society in Japan, was sent photos by his fellow artists in Scotland and worked with a photographer at home in Kirkcudbright. The camera and these social networks gave him access to people, places and subjects that may otherwise have been hard to reach.

Papers on any aspect of the photographer and social networks, as well as on how the camera creates a distance that can justify access to ‘foreign’ sites or inaccessible subjects, will be considered. It is hoped the conference proceedings will be published at a later date.

Subjects may include (but are not restricted to): 

• The camera’s ability to provide access to inaccessible people, places and cultures.
• How social networks – from 19th century photographic societies to contemporary sites like Facebook, Instagram and Twitter – can provide forums for sharing photographs and accessing the inaccessible.
• The networks created and used by Scottish artists in the late 19th and early 20th centuries.
• The influence of the camera on Scottish painting.
• The camera as a tool of colonialism and/or stereotyping.
• How the camera can provide new opportunities for, or give a voice to, marginalised people, places and cultures.

Please send a proposed title and abstract of 200-300 words for a 20-25 minute paper to Ben Reiss at breiss@nts.org.uk by Friday, 12 October. Scholars at any stage of their career are encouraged to submit proposals. 

Any enquiries about delivering a paper or attending the symposium may also be directed to Ben at this address, or please phone 07864 918969.

He may be best known as the guitarist for legendary band Queen but Brian May will visit Aberdeen in August to celebrate the work of another great who rose to fame thanks to a very different royal connection.

The musician and song writer will appear at the University of Aberdeen in his capacity as photographic historian and Director of The London Stereoscopic Company for the launch of a new book dedicated to Scotland’s great Victorian photographer George Washington Wilson, who hailed from the city, written by the aptly named Professor Roger Taylor. The university houses the GWW archive. 

Wilson rose to fame after he was appointed to document the construction of Balmoral Castle and became Photographer to the Queen. His innovations in stereoscopic photography during the 1850s created some of the most captivating stereo (3-D) images of the Victorian period.

May has contributed to a new book George Washington Wilson, Artist and Photographer written by Professor Roger Taylor, the world authority on George Washington Wilson. It will be launched in the city on August 16 at the University of Aberdeen which holds the largest collection of Wilson’s work.

Wilson was a technical and aesthetic innovator and when he began taking two shots of a scene which when viewed together created a three-dimensional image, it quickly became a craze first in Britain and then across the world.

To view the images in their full glory, a special viewer is required and to mark the entry of LSC into book publishing, May created the OWL stereoscope.  This unique viewing device allows modern audiences to see the photographs in the same way as their Victorian counterparts and is included with every book.

May will join Professor Taylor for a celebration of the life of George Washington Wilson at the University of Aberdeen’s King’s College campus. It is a fitting venue for the event as the University holds some 38,000 of the estimated 40,000 glass plate images Wilson captured around the world during his prolific career.

The pair will trace Wilson’s career and show key examples of his work, as featured in the book, using a stunning new 3-D projection system. The audience will also be provided with the highest of quality 3-D glasses to enjoy the images as they were intended.

Professor Phil Hannaford, Interim Senior Vice-Principal of the University of Aberdeen, said he was delighted to be able to celebrate the launch of the book in Wilson’s home city.

“The city of Aberdeen and the University has a long association with George Washington Wilson – a true pioneer of photography – and we are proud not only to hold the world’s largest collection of his work but to have undertaken extensive work to digitise this wonderful collection and make it available to the public.

“The book George Washington Wilson, Artist and Photographer is an outstanding work which will bring his work to new audiences. “We are delighted to be able to welcome Brian May and Professor Roger Taylor to our campus to celebrate the launch of this new work and look forward to hearing their fascinating insights into his life and work.”

Brian May said: “It’s my great pleasure to introduce to you all this beautiful book, at the request of its author, my great friend Professor Roger Taylor. It’s been many years in the making, and I’m confident it will have been worth every minute. It presents the life and work of celebrated Scottish landscape photographer George Washington Wilson, who with great skill and flair, photographed the unique beauties of the Scottish countryside in the 1860s with his stereoscopic camera. The resulting 3-D images proved immensely successful and established Wilson’s national reputation as a pre-eminent photographer. Now, courtesy of the Lite OWL included with every book, Wilson’s images can be experienced in exactly the same way they were enjoyed by the Victorian public.”  

Tickets for the launch event, which will be held in the Art’s Lecture Theatre, King’s College, Old Aberdeen on August 16, are available from www.abdn.ac.uk/events/13419/

George Washington Wilson: Artist and Photographer, by Prof Roger Taylor, Intro by Brian May, The London Stereoscopic Company, publishes on 15 August 2018, £30

Making the collection available to the public

In 2011 the University of Aberdeen made available online more than 35,000 high resolution digital versions of images originally taken between 1853 and 1908 by the Aberdeen photographic firm George Washington Wilson & Co.

The images, taken throughout Scotland the UK and beyond, allow the examination of details previously hidden from the naked eye.

The George Washington Wilson online archive can be viewed at www.abdn.ac.uk/historic/gww/index.htm

Dimbola Museum and Galleries, Isle of Wight, is to host the first major retrospective exhibition of the work of pioneering aerial photographer Captain Alfred G Buckham. 

Creating spectacular images in the face of technical and physical adversity the madcap daredevil Captain Alfred G Buckham (1879-1956) was the foremost aerial photographer of his day. Between 1908 to the early 1930s Buckham risked life and limb to create aerial portraits that are awe-inspiring, poetic and works of technical brilliance. His 1923 photograph of London, The Heart of Empire, was voted by The Sunday Times as one of the world’s greatest photographs and more recently it was included in The Royal Photographic Society exhibition and book, Drawn by Light, highlighting the world's most important photographers.

‘Alfred Buckham was courageous, almost recklessly so, insecurely squeezed with his large plate camera into a flimsy aircraft taking photographs nobody before had even dared.  What he captured was a new world, its atmospherics; lost temples in the jungle, cities framed from the air, the wrecks of war, at considerable personal risk.  The last crash he endured left him virtually speechless.  But his glistening images are things of rare beauty, and Dimbola is proud to be allowed to host the first proper retrospective, and acknowledge Buckham’s genius’ Brian Hinton, Chairman of Julia Margaret Cameron Trust

Spirited artistry with the blood of a risk-taker coursing through his veins, Buckham was a one-off. His first ambition was to be a painter but after seeing an exhibition by Turner he went home and burnt his own work. Those painterly yearnings however did not go up in smoke and they found expression in his aerial photography. During World War 1 he was the first head of aerial reconnaissance for the Royal Navy and later made Captain in the Royal Naval Air Service. However by 1919 he was discharged as one hundred percent disabled, the result of some nine crashes that left him breathing through a tube in his neck for the rest of his life – but did that stop him soaring to dizzying heights risking loss of consciousness to capture spectacular images with his unwieldly large format camera? Definitely not, in fact to add to the drama he would often prefer to go up in stormy weather!

 “I always stand up to make an exposure and, taking the precaution to tie my right leg to the seat, I am free to move about rapidly, and easily, in any desired direction; and loop the loop and indulge in other such delights, with perfect safety,” he wrote in 1927!

In an arcane precursor to Photoshop, Buckham also manipulated photographs marrying different cloud formations to landscapes, adding in airplanes and even painting features himself illustrating his aesthetic desires to get the image right.

Among a select group of admirers is Graydon Carter, ex-Vanity Fair editor. Carter, writing for American Photographer, sums up Buckham’s exceptional contribution perfectly, ‘a photographer blessed with a painter’s eye and a hotspur’s heart could only have accomplished what Buckham did, in a body of aerial portraits that are, ultimately, breathtaking.’

When you consider not only the tremendous technical challenges he faced but also the restrictions posed on him by his disability, Buckham’s body of work is unquestioningly a marvel of photographic genius. In romantic tradition, the vast spectacle of land and cloudscape is fixed by the lens of Buckham, the sky traveller, and renders the viewer simultaneously insignificant and potent. As Turner is undoubtedly one of Britain’s greatest painters so is Buckham one of our greatest photographers. 

The Sky Traveller will be shown in the Olympus and Charles Hay Galleries 5 October - 16 December 2018. 

http://www.dimbola.co.uk/

Dimbola Museum+Galleries is the former home of the pioneering Victorian photographer Julia Margaret Cameron and the birthplace of fine art photography. Dimbola now houses the largest public collection in the UK of Cameron’s photographs and an historic camera collection.  As well as hosting a programme of regularly changing contemporary photography and art exhibitions Dimbola is also home to a permanent display on the history of the Isle of Wight Festival.

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

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

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

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

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

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

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

At the National Science and Media Museum, Insight is our unique collections facility, a 'treasure-trove' of over 26,000 library, archive and image collections. As a large, informal, learning centrethat is truly open to all, our information ignites curiosity, enhancing the visitor experience for our diverse audiences, researchers and the wider public.

To support our ongoing management and development of these collections, we are looking for an Archive and Library Manager to join us at the National Science and Media Musuem in Bradford, on a permanent basis.

In this role, you will be our senior archivist at the musuem, championing the care of and promoting access to our historic collections in Insight. Aside from managing the daily operation of our centre andany colleagues who support its running, you will assist with digitisation projects, cataloguing and working collaboratively to promote best practice across Science Museum Group.

Joining us, you will bring experience of managing library, archive or special collections services and have detailed knowledge of collection management best practice. With experience of and a passion for cataloguing projects, you will be a positive advocate of our collections, being able to work collaboratively and support the development of multi-functional teams.

You will be offered excellent benefits, including 25 days annual in addition to 8 bank holidays, a contributory company pension scheme, BUPA medical and dental care, an interest free loan scheme and numerous staff discounts whilst developing your career in a world class museum group.

Applications close 28 July. See more here

Special Auction Services auction of Fine Photographica on 17 July includes the Mervyn Heard collection of magic lantern slides, optical toys and stereoscopy.Also included are photographs and cameras.  A respected collector and scholar of the popular visual culture and and the lantern Heard died last year.

The catalogue is available here: https://www.specialauctionservices.com/Auction-Calendar/2018/Fine-Photographica-(1)

We are seeking an Assistant Curator to work in the Word & Image Department for 12 months. You will have responsibility for assisting with projects connected to the museum’s important and growing collection of fashion photographs. As a member of a curatorial team, an Assistant Curator provides curatorial support to the museum’s Collections departments and to museum projects, and liaises with the Collections Services teams. (Conservation; Technical Services; Photography Services; and Documentation and Collections Management Services). 

Assistant Curators spend their time working on object-related activity and maintaining documentation which is relevant and integral to the museum’s collections management policy. All posts deal with enquiries from the public – written, by telephone and in person – and Assistant Curators should have a strong commitment to public access. The range of tasks undertaken by Assistant Curators varies considerably at different points of time but it is the museum’s intention that Assistant Curators should gain as wide an experience of curatorial work as possible.

See more here

Hello, I am looking for help in identifying this rather artistic looking man. Maull & Polyblank Albumen print. Circa 1855-8

I have searched the National Portrait Gallery, The Science Museum, The Getty, The Met collection, etc. , to no avail.

There doesn't seem to be a complete database  of these anywhere.. Does anyone know who this is?

Many Thanks, David McGreevy

50 free eprints of my article "'Cyclo-Photographers', Visual Modernity and the Development of Camera Technologies, 1880s-1890s", recently published in the journal History of Photography (42:1), for anyone who may be interested but doesn't have access to a subscribing library: https://www.tandfonline.com/eprint/w2ZiVhX3mTNjcAaV2EYy/full

We are delighted that the Hepworth Wakefield (Museum of the Year 2017) have curated an exhibition from photographs in the Hyman Collection.

Hepworth Wakefield Press Release:

'From the deep indigo and black scarlets of the industrial heart we sailed through the unimaginable beauty of unspoiled countryside. These conflicting landscapes really shaped, I think, my whole life.' - Barbara Hepworth on growing up in Wakefield.

For the first time in human history, more people are living in urban environments than in the countryside, yet the impulse to seek out nature remains as strong as ever. This new exhibition of photographs by leading British photographers such as Shirley Baker, Bill Brandt, Anna Fox, Chris Killip, Martin Parr and Tony Ray-Jones explores our evolving relationship with the natural world and how this shapes individuals and communities.

Drawn from the collection of Claire and James Hyman, which comprises more than 3,000 photographs ranging from conceptual compositions to documentary-style works, Modern Nature will include around 60 photographs taken since the end of the Second World War, through the beginnings of de-industrialisation to the present day. It will explore the merging of urban and rural landscapes, the rapid expansion of cities and the increasingly intrusive management of the countryside. Rather than present a Romantic dichotomy between the rural and the urban, the exhibition presents a more contemporary sensibility that is frequently situated in the edgelands, the often scruffy margins, in which town blurs with countryside.

A number of photographs on display, including The Caravan Gallery's quizzical views of urban centres and Chris Shaw's 'Weeds of Wallasey' series (2007-12), capture the ways in which nature infiltrates the city. Others, such as Mark Power's 'The Shipping Forecast' series (1993-96) and Marketa Luskacova's NE Seaside (1978) images document trips out to the coast and countryside, driven by the sometimes powerful need to escape urban life. They are by turns poetic and humorous, occasionally absurd.

A strand running through the exhibition will look at how children reclaim space for play and exploration, exemplified through works including Daniel Meadows's National Portrait (Three Boys and a Pigeon) (1974), Jo Spence's 'Gypsies' series (1974) and Paul Hill's Legs over High Tor (1975).

James Hyman said: "Claire and I were delighted when The Hepworth Wakefield approached us about staging an exhibition curated from works in our collection. The Hyman Collection seeks to support and promote British photography, and is especially committed to exhibitions and education, so we were excited to work with The Hepworth Wakefield on this exhibition and related events, and fascinated by the theme that they chose to present. As a young gallery The Hepworth Wakefield is fast developing a reputation for curating important exhibitions of photographs, as a part of their dynamic exhibition programme, and we hope that our partnership with The Hepworth Wakefield will encourage their ambitions in this area."

MEDIA ENQUIRIES
Ryan Johnson, Communications Officer, The Hepworth Wakefield
T: +44 (0)1924 247393
E: ryanjohnson@hepworthwakefield.org
High-resolution images with captions and credits from the Media Centre:
www.hepworthwakefield.org/press

NOTES TO EDITORS
The full list of artists in Modern Nature: Keith Arnatt, Shirley Baker, John Blakemore, Bill Brandt, John Davies, Anna Fox, Stephen Gill, Brian Griffin, Paul Hill, Colin Jones, Chris Killip, Marketa Luskacova, Daniel Meadows, Peter Mitchell, Martin Parr, Mark Power, Tony Ray-Jones, Paul Reas, Simon Roberts, Chris Shaw, Jo Spence, The Caravan Gallery.

ABOUT THE HEPWORTH WAKEFIELD
The Hepworth Wakefield is an award-winning art gallery in the heart of Yorkshire, set within Wakefield's historic waterfront, overlooking the River Calder. Designed by the acclaimed David Chipperfield Architects, the gallery opened in May 2011 and has already welcomed two million visitors. The gallery was awarded Art Fund Museum of the Year in July 2017. Named after Barbara Hepworth, one of the most important artists of the 20th century, who was born and brought up in Wakefield, the gallery presents major exhibitions of the best international modern and contemporary art. It also is home to Wakefield's art collection - an impressive compendium of modern British and contemporary art - and has dedicated galleries exploring Hepworth's art and working process. The Hepworth Wakefield is funded by Wakefield Council and Arts Council England.

ABOUT THE HYMAN COLLECTION
The Hyman Collection is the private collection of Claire and James Hyman. It presently consists of over 3,000 artworks in all media, with an increasing emphasis on photography from its earliest days in the nineteent century through to contemporary conceptual practice. The Collection seeks to support and promote British photography through acquisitions, loans and education. In 2015 britishphotography.org was launched to provide online access to British photographs in the collection and as a learning resource to increase international awareness of British photography. As well as including forms of documentary photography, the collection focuses on artists working in photography who have pursued more subjective or conceptual strategies. The collection has historic as well as contemporary photographs and includes an equal number of works by male and female artists.

This new publication by Robin Ansell, Allan Collier and Phil Nichols 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 photography collectors.

Secure the Shadow. Somerset Photographers 1839-1939
Robin Ansell, Allan Collier and Phil Nichols
105 pages.  soft covers (297 x 210 mm).  DVD:  4,495 pages, of which 2,746 contain images.
Somerset and Dorset Family History Society, 2018

Available for £12 (plus p&p) from the Somerset & Dorset Family History Society, at its Yeovil offices at Broadway House, Peter Street, Yeovil BA20 1PN (tel: 01935-429609) or via its online shop at shop.sdfhs.org/publications/somerset-books

Photoworks seeks to appoint a Curator. This post is an exciting opportunity for an experienced individual to work with the new Director to help shape the curatorial programme. Within the first six months of taking up the post, the successful candidate will help deliver Brighton Photo Biennial and Photoworks Annual. An ambitious Curator will be able to use this opportunity to build on and develop their existing experience and skill-set.

Download/complete the application documents using the following links:

• Curator Recruitment Pack
• Equal Opportunities Monitoring Form

Photoworks is an equal opportunities employer and committed to encouraging applications from diverse candidates.

See more here: https://photoworks.org.uk/project-news/job-opportunity-curator-june-2018/