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12201181686?profile=originalThis new publication has been published by Bristol Ideas as part of Bristol Film 2021. It consists of specially commissioned essays written by people from across the city or with specialist knowledge of cinema, including William Friese-Greene. It is available to collect from venues across the city including the Royal Photographic Society, Watershed and Arnolfini. 

Opening up the Magic Box. Friese-Greene and Reflections on Film
Melanie Kelly (editor)
Bristol Ideas, 2021, 196 pages
Available free

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12201171292?profile=originalThe V&A London is seeking a Curator, Digital Art. This is one of nine Curator posts that sit in the Art, Architecture, Photography and Design Department. The post holder will take responsibility for the development, care of, documentation and research, presentation, and interpretation of a part of V&A’s Collection, in this case, digital art. The Museum holds one of the world’s largest and most important collections of computer-generated art, created from the 1950s onwards. As such, the postholder will be expected to represent the Museum at the highest level and play an active role in the field of computer and digital art collecting, nationally and internationally.

As a member of the Art, Architecture, Photography and Design Department, the postholder will also play a role in the wider work of the V&A, contributing to policy, projects and public programmes, supporting fundraising and income generation, and supporting senior colleagues in the running of the Department, including by creating a positive environment, encouraging collaboration across the museum, supporting change, leading and managing Assistant Curators and sharing knowledge, expertise and best practice to help them develop and perform. The postholder will also play a role in the community of practice digital art, design and photography Senior Curators, Curators and Assistant Curators that will span the four curatorial teams.

Details here:

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12201180861?profile=originalImpressions Gallery are seeking to appoint a Curatorial Programme Manager to work as part of our small and dedicated team. The person will manage our programme of innovative, thought-provoking photographic exhibitions, commissions, touring and other projects that realise the gallery’s artistic vision, and its commitment to diverse, and often marginalised, audiences. Other key responsibilities include overseeing and implementing our press and marketing strategy, supporting our learning, engagement and event programmes, and championing Impressions Gallery nationally and internationally.

We are looking for a dynamic, creative and ambitious individual, who is highly organised and able to balance multiple projects and priorities. Applicants must have relevant photographic knowledge and experience of working within a professional contemporary visual arts environment.


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12201179481?profile=originalThe Classic magazine has recently published two features of interest to British photography. The London Photograph Fair - 40 Years On looks at this pioneering fair which will mark its fortieth anniversary in 2022. Its first outing was on Sunday 12 September 1982, and it was held at The Photographers’ Gallery in Newport Street, just off Charing Cross Road. It was the brainchild of Peter Agius LRPS, Fenton 12201180093?profile=originalMedallist, and former Chairman of the Historical Group of the Royal Photographic Society. His italic scripted posters will be familiar to those of us who were interested in collection in the 1980s and 1990s. 

"Talking French" is a conversation between Philippe Garner about the British fashion photographer John French who trained many photographers, not least David Bailey and Terence Donovan. 

See: and

Details of The Classic which is distributed free and available online are here:

Image: Unknown photographer. Tea time in the studio, 1951. Left to right, Pat Goddard, John French, and assistant and Michael Toll.

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12201177888?profile=originalPeering into a small, magical box an eager new audience in the 1850s was transported into another dimension. Stereoscopic 3D images allowed them to experience the wonders of the world without ever leaving their fireside, see the heroes of the day in realistic detail, enjoy sentimental scenes or watch the construction of Brunel’s Great Eastern ship on the banks of the Thames. Millions of images were published and voraciously consumed by the public in just a few glorious years.

Dr Brian May and Denis Pellerin reveal some of the highlights of this extraordinary scientific, artistic and social revolution in this special event, transmitted live from the beautiful chapel at King’s College London. The stereoscope was first demonstrated in 1838 by Charles Wheatstone, inventor and Professor of Experimental Philosophy at King's College, which is now the home of his remarkable archive.

Join two of the world’s leading authorities on this early form of virtual reality, Brian May and Denis Pellerin, on the publication of their major new book, Stereoscopy: the Dawn of 3-D.

Stereoscopy: The Dawn of 3-D. Brian May and Denis Pellerin
Wednesday, 10 November 2021, 19:30 - 20:45
British Library, online, book here

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12201196266?profile=originalThe auction catalogue for the sale of 251 lots of books, watercolours and photographic equipment from the estate of Eric Hosking is now available on the Tennants website. 

Eric Hosking OBE Hon. FRPS FBIPP (1909-1991) is a name which will require little introduction for ornithology enthusiasts. The first professional bird photographer, he photographed over 1,800 species, and his pictures have appeared in some 1,000 books, including the popular New Naturalist series, of which he was photographic editor. To complement his library, Eric Hosking also built a fine collection of pictures by leading 20th century wildlife artists including Archibald Thorburn, Keith Shackleton and C. F. Tunnicliffe. The sale of his photographic equipment provides an unmissable opportunity to own a remarkable array of high-quality cameras, lenses and other apparatus by manufacturers including Contarex, Hasselblad and Zeiss.

Books, Maps & Manuscripts including The Library, Cameras and Picture Collection of Eric Hosking
24 November 2021 10:30 GMT
The Auction Centre, Leyburn

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12201178064?profile=originalThe Photographic Collections Network has announced a series of events relevant to collections and archives of photography. These range from copyright to environmental sustainability. Details are below.  The PCN is working on a collaborative research project with The Photography and the Archive Research Centre at LCC, exploring what a new Directory of Photographic Collections could look like, how it would function and what it could provide. If you can spare a few minutes to be part of this research click this link to answer a few short questions and help us shape a future directory.

Save the Date: Copyright,IP and archive photos Wednesday 1st December, 2-3pm GMT: online
We will be having an online talk led by the Intellectual Property Office on copyright and IP. If you have questions you can put them forward before the event by clicking this link leading to an online form.

Photo Histories PCN & Redeye collaboration: FREE Online events:
Redeye's Photo Histories is a new strand of events that looks at some of the many histories that photography can uncover. The strand features photographers, archivists, scholars and historians exploring some of the lesser-known and under-represented histories of photography.

Format Collective, 27 Oct 7-8:30 pm BST
Maggie Murray, founder of Format Collective. Established in 1983, Format was the first and only women's agency in Britain. If you’ve read the excellent recent book, Photography of Protest and Community by Noni Stacey, you might wonder how the radical collectives of the 1970s transitioned into the progressive photography of today. This talk sheds light on that era. Format Collective tended to focus on events and individuals who weren't being represented in mainstream media. From LGBTQ+ marches to The Miners' Strike to women's rights movements, these women photographed a range of important political events and social movements. 

In this talk Maggie Murray will take us through how and why Format was set up as a collective and agency for women photographers. As well as what it was like being a photographer, and especially a female photojournalist in the 1980s and 90s. Maggie will give us an insight into how the members juggled different aspects of their core aims such as creative, commercial and political. She takes us through the struggles they faced, how they overcame them with support, and how they developed, both collectively and individually. And finally, what led to the closure of the agency in 2003.

Material Histories Online, 2 Nov 7-8:30pm GMT
The study of photographic history has often depended on interacting physically with materials - we learn a lot about prints, negatives, plates and equipment from handling them. But now much more of our life is online, and that’s likely to continue. So how do we adapt this subject to the restrictions of online learning - and what are the possible benefits and new opportunities of learning in the digital world?

We are delighted to welcome Professor Kelley Wilder to guide us through this renewed learning space. 

In this talk Kelley introduces some photographic materials and explores how we can interact with them in a meaningful way. She will invite us to consider how the digital world is changing what we learn about materials, and how we learn it. You are then welcome to take part in an open discussion, where she creates talking points, demonstrates a few things, and sets out some ambitions for a new world of learning. Come along and join in as much as you like; if you would like to sit back and listen, that is fine too!

Engage Gallery Education: 
Applying conversations on class and inequality in collections
28 Oct 10-11:30am £40 for non members

Workshop: Jon Sleigh will reflect on a recent project with the National Gallery on class, and its application in three physical tours at the gallery. Key questions and sharing will look at the value of applying contemporary lived experience to historical work. This workshop’s particular focus is around ideas of class and economic inequality. The workshop will also consider how the educator might orient themselves within such readings, in ways that support the educator’s own safeguarding. We’ll look at language, establishing ethics of content with audiences, and reading the pieces not as a form of division – but as a positive and usable tool that brings others together.

This session features artworks from the Government Art Collection. As well as contributions from the GAC’s Curator of Public Engagement, Chantal Condron, we will be applying art readings on class, to artworks, as practical examples. While each artwork holds significance as being part of a national collection, they also offer the potential of being incredibly emotive works with which to explore our arts practice.


The National Archives: Archives supporting environmental sustainability 
8 and 10 November | Online  
Join TNA for an opportunity to be part of the sustainability conversation and reflect on climate change as COP26 – the world's most important climate change conference – takes place this November in Glasgow. Come hear about the past, present and future of environmental sustainability in the archives sector, share your ideas for change and take away tools to create a positive impact in your organisation. This event will take place over two mornings (Monday 8 November and Wednesday 10 November) and we encourage participation on both days.

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12201183488?profile=originalIn this special event, which accompanies the exhibition Line and Texture: the photography of Nancy Sheung, currently on show at St Hugh’s College as part of the Photo Oxford Festival, and featured in The Guardian, an expert panel will consider the work of pioneering Hong Kong photographer Nancy Sheung FRPS within the broader contexts of Chinese and Western photography.

The event will open with a drinks reception at 5.30pm, followed by the panel discussion between 6pm and 7.30pm.

The panel will be chaired by Shelagh Vainker (St Hugh’s College), Curator of Chinese Art at the Ashmolean Museum, and Associate Professor of Chinese Art in the Faculty of Oriental Studies. The panellists are:

  • Tiffany Wai-Ying Beres, granddaughter of Nancy Sheung, who will discuss aspects of the artist’s life.
  • Adrian Bradshaw, photojournalist specialising in the photography of China, who will contextualise Nancy Sheung’s photography within that of China and Hong Kong from the late 1950s.
  • Michael Pritchard, exhibition curator, Director of Programmes at the Royal Photographic Society, and photo-historian, who will discuss the artist’s work within that of the RPS from the 1950s-1970s.

The event will be held in person in the Mordan Hall at St Hugh’s College, Oxford, and recorded.

Book here:

Image: Nancy SheungThe Pigtail, 1966, silver gelatin print. Courtesy: Estate of Nancy Sheung

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12201178482?profile=originalThe National galleries Scotland will be showing a specially recorded conversation between internationally acclaimed photographer Thomas Joshua Cooper and Chief Curator of Photography, Anne Lyden. They will discuss the making and ideas behind his extraordinary photographs made at the most extreme points and locations surrounding the Atlantic Ocean. The conversation will be followed by a live Q&A.

The talk supports the exhibition: Thomas Joshua Cooper | The World's Edge which runs until 23 January 2022. 

Online via Zoom
onday 1 November, 6-7pm
Free, but booking essential

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12201182871?profile=originalThe National Archives at Kew has announced the release of the 1922 Census for England and Wales on 6 January 2022. Preparing the 1921 Census for online publication is the largest project ever completed by The National Archives and Findmypast, consisting of more than 30,000 bound volumes of original documents, stored on 1.6 linear kilometres of shelving. The 1921 census is of particular value as it will be the last census release for England and Wales for 30 years, with the 1931 Census lost in a fire and the 1941 Census never taken.

The census will be released online by Findmypast and will be charged at £2.50 for every record transcript and £3.50 for every original record image. . There is already disquiet at the cost from researchers for what are public records. which is justified as covering the cost of digitising and transcribing the 18,235,242 images created from the records. It is expected that they will be free to consult at the National Archives in Kew. 


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12201184055?profile=originalThe National Science and Media Museum, Bradford new Sound and Vision galleries development is underway .A tender has been issued for to the value of £430,000 by the Science Museum Group for a team to develop the gallery designs for Sound and Vision. The design team must include the lead spatial designer, graphic designer and lighting designer, structural, acoustic and Mechanical Engineering design specialists. The work will include architectural base build and exhibition design. This lead consultant will be responsible for co-ordinating all disciplines involved in the design.

Separately, the museum is recruit a part-time Project Coordinator to support the project. 

The museum recently secured a National Heritage Lottery Fund first pass grant of £318,963 for the development phase of the project. 

The ‘galleries will include collections of photography, radio, film, TV, sound and digital technologies, and has been created in consultation with local communities. Jo Quinton-Tulloch, Director of the National Science and Media Museum, said its aim was to “realise the Science Museum Group’s mission of making STEM education open for all”. She added, “[they] will explore the relevance and impact of image and audio technology throughout history, connecting the museum’s collections not only to this global communications age, but also directly to our home city.”

For the tender:

For the role see: 

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12201187295?profile=originalThe Reece Winstone Archive is searching for 400 lantern slides taken by Kuner of Bristol, which formed the basis of lectures he gave throughout the west, on historic and natural subjects, as far away as Cornwall, the Rivers Wye, Somerset Chew etc.- he was a keen cyclist and one-time secretary of Bristol Photographic Society. 

The slides were of sufficient interest to become the Kuner Memorial slides and were added to the BPS permanent collection after his death in 1923. We now know they were not lost when the BPS rooms were destroyed in the blitz and were brought to Reece 'to sort' by William J Foster ARPS, acting either for himself, the BPS, WCPF or PAGB, in 1954. Reece may have been gifted 28 duplicate slides, including hand-coloured ones for his own collection, although they were not added to his accession list in common with other gifts of slides from colleagues. He preserved Kuner's printed labels of lectures stuck on broken slide box lids, whilst renewing the slide boxes. These slides have now been digitised.

12201188488?profile=originalFoster was well known to Reece and had attended one of his 1931 rambles to Wells organised for the BPS (left)  All efforts to locate the glass slides have drawn a blank in local, club, national and archived collections, leaving only private collections unchecked. Foster lived latterly at 63 Ashley Hill, Bristol and had run a successful builders merchants of the same name, originally sited adjacent the Bristol River Frome which had been the subject of a source-to-mouth ramble by Kuner, repeated in reverse 50 years later by Reece for BPS. Foster died in 1966, aged 86 and a letter of 1980 from his great-grandson in the Archive written from Bedford says he gave away many photographs following his wife's death in the 1960s.

Holders of any Kuner's glass slides (usually not bearing his name, but spotted with title on top edge in black caps. - see photo of lecture labels) would be most welcome to partake in this digitising project. We may be able to identify Kuner slides by handwritten titles, if you are uncertain - please contact us at

12201188895?profile=originalOur search for 308 lantern slides by Reece covering the history of photographic clubs in the South-west found a successful conclusion in the WCPF's collection last year, held under the heading 'Fed(eration) Faces', and have now been digitised.

Grateful thanks to all involved in the search.


Top right: Kuner with moustache, on left, in the field.
Centre: Foster in light suit.

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I am looking for widely distributed photographs taken at the evictions on the Vandeleur estate, Kilrush, IR.  Some 50 photographs were taken before, during and in the aftermath of these evictions.  It was the most photographed of the Victorian era Irish evictions.  Photographs were widely distributed, by witnesses present at the evictions, and those who came to Kilrush in the aftermath. The witnesses included 5 Americans and 6-8 English and Scottish individuals.  The number who visited afterwards has not been established, but likely included another half-dozen.  Many of these individuals and parties brought home photographs obtained from the photographers who took them, obtained from agents of the National League who escorted later visitors, or purchased from the Lawrence studio or other sources.  I have found references in contemporary British newspapers that these photographs were projected by magic lantern technology to various groups and societies.  If anyone knows of this I would like to be informed.

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12201193697?profile=originalI would like to announce my PhD thesis for those who are interested: MÄNK’ÁČEN : Photographic Mechanics, Mysticism and Superstition among South American first Nations.
Abstract: Toumayacha Alakana : this popular expression lays at the root of my research. It means “to look with a veiled head”. It is how the Fuegians named the act of photographing in the 19th century, when they saw their first cameras, as operators came to America around 1840. 

What names did native people give to those new images-cum-objects ? How was that unknown device perceived ? What does it mean to be looked at by a veiled head ?

My doctoral research offers a shift of focus and point of view on the act of photography in South America. Can our understanding of photography change if we take native peoples’ perspective on the camera as a starting point ?

To be sure, European collections depicting an ancestral America are testament to the social and political context of the time and to the colonial dimension of the newcomers’ relation to native communities. These communities have lost part of their culture, as well as their economical and territorial autonomy. But they are also testament to an untold story, not only about the use of technical devices, but about the approach to knowledge and superstition that condition the culture of these people from “the end of the world”. The idea that native people do not want to be photographed, especially because it would be “stealing their souls”, is a colonial myth. This western belief gave value to the images brought back by explorers. The reasons behind refusing the camera are much more complex and diverse : they can be about the camera angle, the circulation of the image of the self, the one-sided nature of the transaction, the lack of understanding of the device, or political and spiritual considerations.

The results of my research are inseparable from the exhibition of my artistic work and the portfolio that goes along with it. My research blurs the boundaries between curator and artist, between research and creation, between theoretical and artistic practice. The exhibition and the portfolio combine different lines of inquiry following an experimental and interdisciplinary approach ; they use an ethnographic collection to postulate the existence of a “mystical mechanic”.

Keywords : proto-photographie, apparatus, photographic mechanics, mysticism, superstitions, South America, shadow, soul.

More info :

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12201192877?profile=originalPhotomonitor, the online photography platform, carries an interview with Tate Modern's Senior Curator International Art (Photography) Yasufumi Nakamori. He discusses Japanese photography and Tate Modern's strategy representing photography in its programmes. He was interviewed by Romina Provenzi. 

Read the full piece here:

Since 2011, Photomonitor has been promoting photography and lens-based media, publishing images and texts from artists and writers around the world on its online platform. 

Image: Dan Dennehy, Minneapolis Institute of Art

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12201178272?profile=originalApplications are open for Bodleian Visiting Fellowships which support scholars in any field of study and from anywhere in the world to undertake research in the Bodleian's special collections. Of particular interest to BPH is the Sloan Fellowship in Photography which supports a research visit by a scholar in the history of photography. In addition to the archive of William Henry Fox Talbot, the Bodleian holds photographs within nineteenth- and twentieth-century colonial missionary archives; archives of other photographers; photographically-illustrated books; and those within the papers of individuals, famous families or organisations.

Applications for Bodleian Visiting Fellowships will be accepted beginning Friday 1 October 2021, with a submission deadline of noon GMT on Tuesday 30 November 2021.

See more and apply here:

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12201177684?profile=originalDr Annebella Pollen has been awarded a £100,000 Philip Leverhulme Prize, which she will use to fund a new study into the history of photography by children from 1900. As a personal award rather than a research grant, the prize money can be used for any research purpose. Thirty prizes are awarded annually, to a changing group of six subject areas each year.

Dr Pollen, Director of the Centre for Design History, said: “I plan to use the fund to take extended research leave as well as to support the costs for a major new illustrated book and exhibition on photography by children from 1900 to the present. This draws on my long-standing interests in mass visual culture and its undervalued histories. To have two years to explore a substantial new area will be a huge privilege. I'm really looking forward to bringing to fruition ideas that I've been considering for some time but have not previously had the opportunity to pursue in depth."

Read more here:

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I wonder whether any members can offer advice on finding a home for an archive of industrial photography? This collection relates to one major assignment undertaken in 1993/4 by noted industrial photographer, the late Donald D. Fraser FBIPP FRPS and myself Clive Friend FBIPP. We worked as two teams across the UK, Europe and North America illustrating the substantial range of industrial premises owned by the Caradon Group. The purpose was to produce a corporate book for the Caradon Group of all their possessions. The range of industrial processes illustrated was very wide. This assignment was significant for various reasons. It was probably one of the largest single industrial photography commissions undertaken and given the time, probably one of the last to use film  We investigated digital possibilities but concluded that digital had not yet reached the standard we would require for this project.  Consequently, all images were produced on colour negative and positive materials. Don used Hasselblad 6x6 and I used Mamiya RZ 6x7. I have a complete set of all images produced in both negative and positive forms plus a quantity of the books we produced. We used electronic flash to light some very large areas. This collection is also a record of a world of industry as it was nearly 30 years ago.

Don was a flamboyant personality who undertook his assignments with great style. The collection includes many striking images mostly unseen outside this project. The Caradon Group no longer exists and Don Fraser died in an accident in Australia in 2001.

I would like to find a worthwhile repository for these images where they will be conserved and accessible to future generations.

Please get in touch if you are able to help or advise.

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12201177480?profile=originalUnder Newborn Stars tells the story of photographer Maja Blumenfeld - From her upbringing in Berlin to her escaping Nazi Germany and resettling in New Zealand. The film provides insight into her journey, her view on photography and the importance of objects connected to people and significant moments in her life.

Photographer Maja Blumenfeld’s collection of previously hidden and largely unpublished photographic negatives capture the faces, landscapes, architecture and lifestyles of interwar Berlin and mid-twentieth-century Auckland, New Zealand. The archive of glass plate and Kodak negatives resurfaced in 2014 still in its original packaging alongside handwritten notes. Maja’s granddaughter Roshannah Bagley has spent the last five years discovering the names and stories with Maja to preserve and eventually share with the world for the first time.

12201177667?profile=originalBorn in Berlin in 1919, Maja trained as a photographer in her teens before being forced to flee Nazi Germany in 1938 with her family to Auckland, New Zealand. On arrival she took on a role at the local newspaper The Auckland Star as a photographer until her career was cut short due to the war. After moving back to Europe in the late sixties, she settled in London with her New Zealand husband and children in 1970. Now at age 102, Maja still lives an independent life in northwest London.

The film was shot in September 2020 at Maja’s home in North London and Kasia Wozniak’s photography studio in South London. It was created by Hedvig Ahlberg and Roshannah Bagley, and supported by Something™’s Pioneers initiative.

Roshannah is a multidisciplinary creative and curator. She spent a decade working in fashion before moving into advertising and the creative industries. She is currently a Studio Manager at Something™ and dedicates her spare time to curating and producing projects and events that champion underrepresented creatives. Hedvig is an independent director and editor with a focus on telling stories about women. She also works as a producer at Something™ where she has worked on a wide range of productions from short form to feature series and documentaries.

Link to film here.
English and German subtitles available.
Te Neo Māori subtitles will be available soon.
Download Trailer

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12201177858?profile=originalTwelve experimental photographic artists exhibit their work in Oxford as part of Photo Oxford Festival opening in the Main Gallery, The Old Fire Station, central Oxford, from the 15 October-13 November. Each artist focuses on materiality within their practice. They are inspired by historical processes invented in the 19th Century, and work with the fundamental elements of the photographic medium: Light, Time and Material.

The exhibition brings together artists from Australia, France, Holland, Poland, Ukraine, the United States, and the United Kingdom. The artists explore the materiality of the photograph through experimentation within analogue photographic techniques to create unique contemporary art photography. Over the past twenty years, photography’s innovative presence of immaterial existence/cloud-based imagery and material existence anchored in objectivity has shifted focus.

This exhibition not only explores the movement of photography from representation to abstraction, it also looks at the thread of analogue practitioners who continue to practice with finite materials or new materials with fresh ideas on
what photography might be or do in the 21st century.

These artists reach back into the history of photography seeking new ways of thinking and making photographs. These photographers are part of a movement that push the boundaries of photography as a medium. The idea that analogue photography is obsolete is outdated and rather than a rejection of the historical techniques a raft of artists embrace the beginnings of the medium, using it in the most creative and energetic way to generate unique photographic art that is at the forefront of the definition of fine art photography.

List of artists: Neil Ayling, John A Blythe, Sylvie Bonnot, Ellen Carey, Alice Cazenave, Karel Doing, Nettie Edwards, Hannah Fletcher, Anna Luk, Rita Rodner, Megan Ringrose, Kateryna Snizhko. Workshops • Karel Doing (Phytography) 23rd October • John A Blythe (Cyanotype) 30th October • Nettie Edwards (Anthotype) 6th November • Alice Cazenave (Chemigram) 13th November

Fabric of Photography
Curated by Megan Ringrose
Venue: The Old Fire Station,40 George Street, Oxford.
Date:15th October - 13th November


Essays by Anna Luk, Claire Raymond and Duncan Wooldridge.


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