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12201128893?profile=originalIn the early 19th century, the ideas of reform pedagogues such as Johann Heinrich Pestalozzi (1746-1827) gave rise to a didactic turn towards the visual that criticized an exclusive textual mediation of knowledge through books and lectures (Depaepe 1999). The pedagogues and policymakers who strove for a more child-centred approach to teaching were soon joined by media producers and marketers in their aim to transform the classroom into a multimodal space for learning.

By the late 19th century, photographic images had taken up an important role in facilitating this visual turn in educational theory and practice. They were seen as direct representations of reality, ‘evidence of a novel kind’ and, above all, as visual ‘facts’. (Nelson 2000: 427). From the turn of the 20th century onwards, teachers were increasingly pressured to incorporate high-profile media technologies such as stereoscopes, lantern projectors, epi(dia)scopes and film projectors into their lessons (Cuban 1986). The accuracy of photographic images and the flawless projections enabled by these new technologies inaugurated new regimes of vision and sensoriality that equated light with truth and vision with knowledge (Eisenhower 2006). At the same time, projection-aided lessons provided powerful commentaries on what was shown, conditioning pupils’ practices of looking and giving rise to particular ways they were supposed to understand the world (Good 2019).We propose a symposium engaging with educational uses of light projection from diverse perspectives. We aim to explore this topic in relation to the material and practical aspects of visual teaching and the various regimes of vision that are engendered by the use of visual media like stereographic photographs, lantern projection, the episcope or film projection. Papers could center on a variety of aspects of projection media in educational contexts, ranging from topics like entertaining uses of the magic lantern to the specific modes of scientific vision (Daston & Galison 2007), taught in educational contexts varying from pre-school to secondary or higher education.

Please send your abstract (max. 300 words including possible references) and a short biographical note of the author(s) (max. 150 words) to Nelleke Teughels ( ) no later than 11 December 2019.

Teaching science with light projection: regimes of vision in the classroom, 1880-1940 at the
European Society for the History of Science conference in Bologna, 31 August-3 September 2020.

Organizers: Nelleke Teughels and Wouter Egelmeers


Cuban, Larry. Teachers and Machines: The Classroom Use of Technology since 1920. New York: Columbia universityTeachers college press, 1986.

Daston, Lorraine, and Peter Galison. 2007. Objectivity. New York: Zone Books; Distributed by the MIT Press.

Depaepe, Marc. Order in Progress: Everyday Educational Practice in Primary Schools, Belgium, 1880 - 1970. Studia Paedagogica. N. S. 29. Leuven: university press, 2000.

Eisenhauer, Jennifer F. (2006) Next Slide Please: The Magical, Scientific, and Corporate Discourses of Visual Projection Technologies, Studies in Art Education, 47:3, 198-214, DOI: 10.1080/00393541.2006.11650082

Nelson, Robert S. “The Slide Lecture, or the Work of Art ‘History’ in the Age of Mechanical Reproduction”. Critical Inquiry 26, nr. 3 (2000): 414–434.

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12201121294?profile=originalHi, Thought this might be of interest to some of those interested in studying photo archives! Following the successful pilot of the Cambridge Data School in 2019, CDH is pleased to announce that it is extending its training in Digital Methods in an effort to meet the growing demand across academia, civil society, the public sector and industry. During the current academic year, CDH will organise two Data Schools, a Cultural Heritage Data School scheduled for 16–20 March 2020, and a Social Data School, which will take place on 22–26 June 2020. 


Applications now open for the first Cambridge Cultural Heritage Data School 

Cambridge Digital Humanities (CDH) is pleased to announce that applications for its Cultural Heritage Data School are now open. This event aims to bring together participants from the wider Galleries, Libraries, Archives and Museums (GLAM) sector and academia to explore the methods used to create, visualise and analyse digital archives and collections.

The curriculum will be structured around the digital collections and archives pipeline, covering the general principles and applied practices involved in the generation, exploration, visualisation, analysis and preservation of digital collections and archives. The school will be tailored to the learning needs of participants with content selected from but not limited to the following:

  • Metadata creation and enrichment
  • Digital text mark-up and TEI
  • Text-mining
  • Social network visualisation and analysis
  • Geomapping and archival photography
  • Digital Images and machine learning
  • Digital data preservation

Cambridge Digital Humanities is committed to democratising access to digital methods and tools and is
offering the following subsidised participation fees to encourage applications from those who do not normally have access to this type of training. The fees include all teaching costs, college accommodation (including breakfast and evening meals) for four nights and three lunches.

  • Standard Rate: £645
  • Small Organisations / Academic Staff: £395
  • Students / Unemployed / Community Projects / Unfunded Projects: £125

In addition, a small number of bursaries are available to those who can demonstrate financial need.
The deadline for applications is Sunday 15 December 2019. Applicants will be notified of the outcome of their application by Friday 17 January 2020.

Apply here
Questions related to the application procedure: Karen Herbane (Digital Humanities Learning and Events Coordinator): Questions related to course content: Hugo Leal (Cambridge Data Schools Coordinator):


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Source Magazine #99 - Autumn 2019

12201128679?profile=originalThe current issue of Source magazine has a number of articles of interest to British photographic history. Sarah Macdonald, Heritage Collections Manager at the Royal Horticultural Society, looks at the RHS's photography collections. It includes over 400 cartes of horticulturalists.

Elsewhere, Richard West provides a useful overview and list of the blue heritage plaques of photography interest. However, his comment that the RPS's involvement in a scheme with Olympus in the 1990s was 'self-promotion' misses the point that the RPS and its membership have been active and integral to photographic history since 1853 and there is an overlapping of interests. The scheme commemorated individuals who would have otherwise been passed by. The RPS hardly needs to 'burnish' its place in history.

There are a number of plaques pending and West's list will be added to over the next couple of years. 

Source magazine is available at various photography galleries and outlets, including the RPS in Bristol.



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12201120697?profile=originalHans Rooseboom writes... On behalf of Mattie Boom I would like to bring your attention to our current research opportunities within the Rijksmuseum Fellowship Programme – in particular the new Terra Foundation Fellowship in American Photography.

Currently, we are preparing a major exhibition of American photographs—from the birth of the medium in 1839 to the present—in a wider context. Candidates are invited to submit a research proposal that links to the themes that were chosen for the upcoming exhibition: American landscapes, portraits, the private use of photographs, the application of photography in advertisement, fashion, politics, (decorative) utensils, and a number of social themes – from the Civil War to the Civil Rights Movement and from poverty to the experience of wars in the Homeland, as well as the relation of photography to modern art (especially after World War II).

We would be very grateful if you could forward the call for applications to potential candidates who, in your opinion, would be excellent candidates for this opportunity. The deadline for applications is 19 January 2020, and all Fellowships will start on 1 September 2020.

You can find all further details, current fellowship projects and eligibility requirements here:

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12201135688?profile=originalA forgotten cache of 13,000 Royal National Lifeboat Institution (RNLI) pictures has been rediscovered in an attic and is being "preserved for posterity". The photos were found earlier this year in a large dusty pile in the organisation's headquarters in Poole, Dorset. Work has been started to preserve the pictures, the earliest of which are from the 1920s, and digitise the whole collection.


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A 'new' McGlashon stereoview of Melbourne

12201124468?profile=originalEdinburgh photographer Alexander McGlashon travelled to Australia in late 1854, remaining in Melbourne until May 1857, running a photographic business based in 7 Collins Street East. Sadly very few of his photographs from that period are known to survive. It was therefore with some excitement that I recently uncovered a “new” stereo.

Edinburgh Council has an archive of glass plates that they have incorrectly attributed to Thomas Begbie. Recently the full archive has been made available on the internet. One of these items, no 11656, is described as a “copy of an American Stereocard” and is dated as being taken by Begbie in 1887. The view is clearly not a Scottish scene so presumably as it was known that Begbie lived for most of his life in Scotland someone took a stab at describing this stereo in a way consistent with the attribution of the archive to Begbie.

In fact looking at the online image there is nothing to suggest that this is a copy of another stereo; more importantly it is not an American view but is clearly a very early view of Collins Street in Melbourne; indeed the address 6 Collins Street East can be seen on one of the properties. Similar McGlashon views of Melbourne are held by the state Library of New South Wales, by the National Museum of Scotland and by the George Eastman Museum.

Edinburgh Council, which has been reluctant to correct the Begbie misattribution, has been informed of this discovery.

See: h

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12201128075?profile=originalThe Kraszna-Krausz Book Awards recognise outstanding original contributions to the literature, art or practice of photography and the moving image. Two winning titles published between 1 January and 31 December 2019 will be selected; one in the field of photography and one in the field of the moving image (including film, television and digital media). The deadline for submission of the application form is 17 January 2020.

Full details of how to submit and terms & conditions can be found on the Kraszna-Krausz website.

The Prize

A long list of ten books will be selected in each category. This will then be reduced to shortlists of three, from which two final winning publications will be chosen. The author of each winning book will receive £5,000.

Winners will be awarded their prize during Photo London week at a ceremony at the Royal Society of Arts, London. Shortlisted authors will be invited to attend as guests of the Foundation.

The Foundation

The Kraszna-Krausz Foundation was created by Andor Kraszna-Krausz, the founder of Focal Press. Since 1985 the Kraszna-Krausz Foundation Book Awards have been the UK’s leading prizes for books on photography and the moving image. Winning books have been those which make original and lasting educational, professional, historical and cultural contributions to the field.

For further information visit the Kraszna-Krausz Foundation website:

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Obituary: Terry O'Neill CBE (1938-2019)

12201121885?profile=originalTerry O’Neill, the photographer who chronicled London’s 1960s culture by capturing the celebrities and public figures who defined the era, has died aged 81.

O’Neill, who was awarded a CBE last month for services to photography and was known for his work with the likes of Frank Sinatra, David Bowie and Elizabeth Taylor, died at home on Saturday night after a long illness, his agency said. He had prostate cancer.


Gallery of images:

Image: Misan Harriman / Iconic Images /

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12201120294?profile=originalThe Redan Bastion was an integral part of the Russian defences of Sevastopol during the Crimean War. Many British lives were lost in two attempts to capture the strongpoint in 1855. After Sevastopol was abandoned by the Russians on the night of 8-9 September 1855 following the fall of the Malakhov Bastion to the French, the photographer James Robertson and his assistant Felice Beato were among the first to enter the Redan to document its interior.

Three of their images, which are all called Interior of the Redan in photographic collections, show the same area of outer defence wall. One (see top right) is the same location as the raised area on the far right of a panorama made-up of two other images (see below). All show the devastation behind the bastion’s gabion-reinforced, earth perimeter wall caused by artillery bombardments. Guns are visible  behind  their embrasures, one on the left of the panorama still with an hanging rope mantelet that protected the gunners from British rifle fire.12201119885?profile=original

The foreground details and the background views of the British lines on the Right Attack before Sevastopol in the photographs enabled the exact position on the Redan’s wall where they were taken to be identified on a contemporary plan of the bastion. This area of the plan is shown below with arrows ‘1’ and ‘2’ indicating the directions of the camera taking the two-image panorama (see above) and arrow ‘3’ indicating the direction of the camera taking the third image (see top right). 'PM' on the plan stands for 'powder magazine', the entrance of one being seen on the far left of the panorama. The straight lines emanating from gun positions and crossing over the curving perimeter wall and ditch indicate the direction of the gun fire. Note that the line of fire of the gun next to the head of arrow '3' on the plan below is at right angles to the gun positioned to its upper right. This can be clearly seen on Robertson/Beato's image (see top right).12201120676?profile=original

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12201121675?profile=originalInternational photographer, designer and lecturer Janine Freeston discusses colour photography in Britain before the First World War and the beautiful Autochromes of Lionel de Rothschild. Janine is an Associate of the Royal Photographic Society and currently undertaking a PhD on early colour photography at Birkbeck College, University of London.

Early colour photographyc and the Rothschild autochromes
Sunday 24 November
14:30 - 16:00
£10, including refreshment


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12201119896?profile=originalThe Photographic Collections Network are running a series of events across the UK combining collection tours with talks aimed at anyone working with photo collections and archives in museums, libraries and archives.

This event is the first in this series of events aiming to create an informal space for conversation and networking, and an opportunity to learn about national and private collections with some new skills along the way.

This event includes a tour of the photo collection stores at National Science and Media Museum in Bradford, followed by a talk by Head Curator Geoff Belknap.

Who should come?

This event is aimed at anyone working with photo collections and archives in museums, libraries and archives.

1:00 Coffee, cake and networking
1:30 Tour of Photography and Photographic Technology Collections
2:30 Talk: Geoff Belknap, NSMM Head Curator – Collecting the Boundaries of Photography: how to collect, curate and think about photographs in museums, libraries and archives
3:00 Discussion
4:00 Finish 

Post-event we invite you to join us at a local pub to continue conversations.

Event is free for members, £10 for non-members
Friday, November 29, 2019 - 13:00 to 16:00
National Science and Media Museum, Pictureville, Bradford, BD1 1NQ

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12201120069?profile=originalDiscover how Robert Paul, the forgotten pioneer of cinematography, invented British cinema. The year is 1894—a time of competition and innovation. Young engineer Robert Paul is sitting in his workshop when two businessmen arrive with the proposition of a lifetime.

Discover the beginnings of a new industry, enter the magic of the music hall and witness the race for the next big thing in entertainment: cinema. In the heart of Bradford, the world’s first UNESCO City of Film, we are proud to reveal this forgotten hero of cinema, 150 years after his birth.

Visit The Forgotten Showman and discover the man who invented British cinema.

National Science+Media Museum
Curated by Toni Booth

22 November 2019 - 29 March 2020
See more here.

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12201123056?profile=originalThis exhibition celebrates an unparalleled collection of Scottish photography recently acquired and shared by the National Galleries of Scotland and the National Library of Scotland. The photographs were amassed by collector Murray MacKinnon and represent Scottish life and identity from the 1840s through the 1940s – a century of dramatic transformation and innovation.

The chronicle of Scotland’s culture during the mid-19th to early 20th centuries is inseparable from its leading role in the early history of photography itself. Many of the first practitioners and visionaries who impelled the medium forward were based in Scotland or were inspired by Scottish subjects. The exhibition includes photographs by William Henry Fox Talbot, David Octavius Hill and Robert Adamson, Julia Margaret Cameron, Thomas Annan, Roger Fenton, George Washington Wilson, and others who created stunning images of Scotland’s people and places during the 19th century and established precedents for photographers worldwide.

In the early 20th century, Alexander Wilson Hill, Mary E. Watts and John Simpson sustained the medium’s alignment with fine art whilst recalling the expressive images of predecessors such as Hill and Adamson.

The MacKinnon Collection is distinguished by the work of photographers who captured unprecedented images that brilliantly transport us back to a century of changing rural communities, growing cities and enduring historic sites, but also illuminate the faces and places that continue to affect our lives today.

The National Galleries of Scotland and the National Library of Scotland. Acquired jointly with assistance from the National Lottery Heritage Fund, Scottish Government and the Art Fund.

Saturday, 16 November 2019 - Sunday, 16 February 2020
Open daily, 10am-5pm
Admission free


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12201120888?profile=originalThe photographer Bill Brandt (1904-1983) and sculptor Henry Moore (1898-1986) first crossed paths during the Second World War, when they both created images of civilians sheltering in the London Underground during the Blitz. Taking these acclaimed ‘shelter pictures’ as a starting point, this major exhibition will trace for the first time the parallel and intersecting careers of these two important artists of the 20th century.

Organised in partnership with the Yale Center for British Art, the exhibition will bring together over 200 works including major sculptures, iconic photographs, drawings, little-known photo collages, unprinted negatives and rare original colour transparencies. Bill Brandt | Henry Moore will reveal the interdisciplinary range of these two artists, exploring how they both responded creatively to the British landscape and communities during the turbulent times in which they lived.

The exhibition will open with the moment the artists met in 1942 when Brandt photographed Moore in his studio to accompany a 10-page spread in Lilliput magazine juxtaposing the two artists’ shelter pictures. Brandt was a regular contributor as a photojournalist to Lilliput, a magazine known for its innovative photographic features, and this issue was the first time the two artists’ work was shown side-by-side.

Both artists were often drawn to similar subjects - leading up to and during the Second Word War, there was a focus on ordinary people, the home and labour. Brandt’s bleakly evocative photographs of impoverished mining communities and families in the North of England taken in the late 1930s reflect social deprivation. Moore’s later sketches documenting the civilian war effort at his father’s colliery in his home-town of Castleford, although similar in theme, present a more optimistic view.

Sculptures such as the 1944 bronze Family Group show a connection between Moore’s shelter drawings and his depictions of family groups, a subject he often returned to in both sculptures and drawings. In the 1950s Moore made a series of works which used similar groupings of figures, poses and drapery as those seen in the shelter drawings, presenting the familial members as one body, melded together in bronze or in the grey wash of a drawing.

In contrast with the densely populated, often claustrophobic, urban subjects explored during the war, Brandt and Moore both later turned to nature and the light-filled open landscape as a primary source of inspiration. A significant section of the exhibition will look at both artists’ enduring interest in rock formations, geological artefacts, and megalithic sites, such as Stonehenge. Brandt’s photographs of Stonehenge will be presented alongside Moore’s lithographs of the same subject, examining how each artist chose to capture the enigmatic nature of the site.

This section of the exhibition will also explore the importance of found natural objects to the development of both artists’ later works, including a little-known relief sculpture by Brandt, made from pieces of flotsam he collected on the beach. Objects from Moore’s extensive collection of shells, pebbles and bones, which he kept in his studio as source materials will also be on display. These he sometimes collaged together with plasticine into small figurative sculptures, sometimes scaling them up into full-sized standing and reclining figures, such as Reclining Figure (Bone) 1975.

The exhibition will reveal the important relationship for both artists between 2D images and 3D objects. Moore will be presented as a sculptor and draftsman who made a serious commitment to photography both as a creative medium and a means of presenting his work. On display will be little-known photographs of his sculptures, drawn on and collaged together to develop new ideas for future sculpture. Brandt will be revealed as a photographer who looked to sculpture as a subject and as a way of considering nature, landscape, and the human body, as exemplified by a series of rare colour transparencies of sculptural rock formations on the beach.

Bill Brandt | Henry Moore will also examine the complicated relationship between pictures and objects, between ‘primary’ works of art and ‘secondary’ published images used as an important means of disseminating their work to a wide public, and the material nature of the printed photograph.

Simon Wallis, Director of The Hepworth Wakefield said: ‘We are delighted to be working with the Yale Center for British Art on this major exhibition that presents side-by-side for the first time, the work of Bill Brandt and Henry Moore. These two important artists, born only 10 years apart, were both commissioned by the UK government in the 1930s – Brandt as a photojournalist and Moore as a war artist – and subsequently supported by the British Council, developing significant reputations internationally. Both artists had a fascination and poetic sensibility for capturing the spirit of place and it is particularly poignant to be presenting this exhibition in West Yorkshire, where Henry Moore was born and grew up.

The exhibition is organised by the Yale Center for British Art in partnership with The Hepworth Wakefield. It is accompanied by a major new book published by the Yale Center for British Art in association with Yale University Press. The exhibition will be shown at The Hepworth Wakefield: 7 February – 31 May 2020; and at the Yale Centre for British Art, New Haven: 25 June – 13 September 2020; it will then tour to the Sainsbury Centre, Norwich: 22 November 2020 – 28 February 2021.

Bill Brandt | Henry Moore is supported by The Henry Moore Foundation, Hiscox and The Hepworth Wakefield Contemporary Circle.


Image: Bill Brandt, Nude, East Sussex Coast. Gelatin silver print, 1960 Bill Brandt Archive, London, © Bill Brandt / Bill Brandt Archive Ltd. / Photograph by Richard Caspole

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12201119658?profile=originalBristol Vintage Photograph Fair is a new event; offering for the first time in the West of England, an opportunity for collectors of early photography to meet the leading specialist vintage photograph dealers from the UK & Europe, and browse through an exceptional display of rare original photographs, documenting the first 150 years of Photography, from 1840 to 1990.

A wide ranging selection of fine prints, from Britain, Europe, Asia, the Americas, and around the world:

Portraiture, Social documentary, Military & Naval campaigns, Architectural studies, Travel, Topography & Landscape, Natural History and wildlife, and much more.

  • Daguerreotypes & Ambrotypes,
  • Calotypes, (Salt Prints)
  • Albumen and Gelatine prints,
  • Lantern slides,
  • Cartes-de-visite & Cabinet print portraiture,
  • Stereographs, Photographic Postcards etc.
  • New, Secondhand, and Antiquarian Books on Photographers & the History of Photography.

Photographs offered for sale will be original vintage prints & images (no modern copies, facsimiles or reproductions allowed!)

Prices range from a few pounds, up to examples of some of the rarest and most valuable prints, produced by some of the greatest names in 19th and early 20th century photography.


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12201123696?profile=originalThe Photographic History Research Centre (PHRC) and the International Centre for Sports History and Culture (ICSHC), de Montfort University, in collaboration with the National Paralympic Heritage Trust (NPHT) are currently offering a PhD position on the photographic history of the Paralympic community in Britain.

Description of the project:

This project will examine the formation of the Paralympic community through the study of the NHPT photographic collections. This archive follows a community-centred approach. It reflects the daily life of disabled athletes, and not just the elite or mega-events, and aims to bring the photographs back to their regional communities through itinerant exhibitions, currently planned for Norfolk, Bradford, Manchester, Bath and London. By closely analysing the growing NHPT photographic collection, the student will identify how athletes, coaches, medical staff and families have used photography to define themselves as a ‘community’ and how they have used sport to frame and represent their disabilities. Understanding how the Paralympic community has appropriated medical images or the stories that Paralympians tell when seeing the NHPT photographs will challenge public perceptions about individuals with disabilities and will present new critical insights into the formation of sports communities, representations and disability.

The proposed CDA project will 1) determine the key role photographic representations have played in building the Paralympic community; 2) demonstrate the public impact and academic value of incorporating photographic collections into sport heritage projects and activities; 3) will consolidate the reputation of DMU as a leading institution in interdisciplinary arts and humanities research based on knowledge co-production with heritage institutions such as NHPT at regional and national levels.

The outcomes of this project will be the result of the co-creation of knowledge between the student, the academics at DMU and the NPHT. The PhD student will be key to maintain and enhance the NPHT Paralympic heritage by means of 1) contextualising the existing photographic collection, 2) compiling oral histories related to the Paralympic movement in the Midlands and 3) contributing to a Midlands version of the itinerant NPHT exhibition, which will take place in 2024. Unlike other NPHT exhibitions, the Midlands exhibit will be specifically designed for the region and will be the product of the M4C CDA, as the NPHT is not currently planning to tour the exhibition anywhere in the Midlands.

You can find more information about the project here:

Funding is available for 4 years (or 8 for part-time study), which includes fees for both UK and EU applicants and maintenance grant for UK applicants (where institutional funds allow, M4C may be able to offer a maintenance grant to EU applicants), plus opportunities for additional funding. You can find more information through the Midlands 4 cities portal:

To apply, please consult the Midlands 4 Cities portal, where you can find all the information about the application process:

Supervisors: Dr Beatriz Pichel (PHRC), Heather L Dichter (ICSHC) and Vicky Hope Walker (NPHT)

Deadline: 14 January 2020

For more information about the project, please contact Dr Beatriz Pichel:

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Blog: exploring industrial photographs

12201123259?profile=originalAs part of Scotland's Season of Photography the University of Glasgow has published a blog which explores the photographs contained within its business collections, and considers their unique value in archival research. The blog uses the Scottish Business Archive, part of the University's Archives & Special Collections, which is packed with unique and interesting pictures.  From shipbuilders to carpet and textile manufacturers, iron foundries to optical instrument manufacturers, photographs found in our collections span the breadth and depth of Scotland’s industrial heritage.

Read the blog here:

Image: Steel behemoths: a worker dwarfed by their industry, c. 1910s (Source: UGD100/1/11/1/23)

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12201125288?profile=originalDaniel Meadows, who's archive is now housed at the Bodleian Library in Oxford, is the subject of a short BBC film which was made at the launch of his Bodleian exhibition last month. In it Daniel and John Payne - the young boy holding the pigeon - are reunited after 45 years, John was one of Daniel's sitters at his photography bus in the 1970s.

12201125880?profile=originalThe film is scheduled to be broadcast on BBC One, during The One Show on Wednesday, 20 November, between 1900-1930.  It will also be available for 28 days on the iPlayer.

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12201119460?profile=originalStills gallery is to present a selection of photographs from The AmberSide Collection, a unique archive that continues to grow out of the documentary production, commissioning, exhibition and touring work of Newcastle-based Amber Film & Photography Collective. The group established itself in North East England in 1969 and opened Side Gallery in 1977.

The display at Stills highlights a selection of AmberSide’s holdings of photographs by women photographers. Key documentary works by founder Amber member Sirkka-Liisa Konttinen, by Tish Murtha and Izabela Jedrzejczyk, both of whom worked at Side Gallery, share the walls with those of celebrated international photographers, such as Graciela Iturbide, who toured Konttinen's Byker in Mexico, and Susan Meiselas, whose Central American work was toured by Side in the early 1980s.

The exhibition illustrates AmberSide’s historic and ongoing commitment to the best in documentary, showcasing photography that tells stories of marginalized and threatened people and communities, whether they are from the North East of England or anywhere else in the world.

This exhibition is part of an annual series of displays at Stills aimed at celebrating the diversity and richness of photographic objects held within archives and collections in the UK.

Women Photographers from The AmberSide Collection
15 Nov 2019 - 8 Mar 2020

Image: Girl on a Spacehopper, Byker 1971 © Sirkka Liisa Konttinen, courtesy Amber/ L. Parker Stephenson Photographs

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12201116097?profile=originalFamous for his portrait of Queen Victoria on her horse ‘Fyvie’, accompanied by her servant John Brown, George Washington Wilson was at the time among the best known of royal photographers. His picturesque images helped popularise a romantic view of the Scottish landscape. These were sold to the Victorian middle classes holidaying in Scotland, a pursuit popularised by the royal family’s love of the country. The display includes royal portraits made for Queen Victoria’s personal photograph collection and Wilson’s beautiful views of Scotland.

University of Aberdeen library: 8 March-5 July 2020
Palace of Holyroodhouse, Edinburgh: 17 July-4 October 2020


Image: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

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