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12201171456?profile=originalTurning 80 this year and still as creatively productive as ever, acclaimed British photographer Paul Hill has produced a limited edition set of platinum-palladium prints of some of his most recognised and seminal images.  Prized for their rich, subtle tonal quality, wealth of fine detail and stability, platinum-palladium prints are at the summit of traditional photographic printing.

Proposing a fresh interpretation of a selection of the original 35mm negatives from his renowned Prenotations series of the 1970s, these exceptional images have been printed at a larger-scale to truly celebrate Hill’s remarkable compositions together with the superior qualities that platinum-palladium has to offer. Boasting fine detail and extreme archival stability, these beautiful prints have been handcrafted with the assistance of contemporary technology.

For the past 18 months, Hill has been working with Studio of Light at top ten University of Loughborough - specifically the photographic research and development expertise of Alan Duncan and Ben Dolman - who have devised an innovative approach to platinum-palladium printing by uniting this 19th century historical process with contemporary image making.

Opting for images that would offer a strong tonal range and impact, the negatives were scanned and digitally processed to make optimal files for the enlarged negatives ready for contact printing in the darkroom. Mastering this challenging process, they can now create consistently superior and exquisite prints, as presented in this exhibition of just 10 photographs from Hill’s most memorable work.

Speaking about the project, Duncan and Dolman state: “This has been a wonderful opportunity for us at the Studio of Light to work with such an outstanding and distinguished photographer as Paul.  Producing a set of platinum-palladium prints from his treasured negatives has allowed us to showcase what we can offer to photographers, galleries and, in particular, museums in the production and archiving of exacting photographic artwork.

12201171299?profile=originalAs for Hill, he comments: "I was so excited to get this invitation from Loughborough to participate in their venture into platinum printing and have my work printed by Alan and Ben. Their reputation as photographic innovators is well known, so I knew I was in safe hands. This is particularly important as there is only ONE negative existing of probably my best-known image - Man Against Snow - made in 1974!  When they told me that the prints would last for at least 1,000 years it was an easy decision. To think that if a photograph was made by this process at the time of the Norman Conquest and it would still be OK today is phenomenal!"

Argentea Gallery is working with Hill and Loughborough University to exhibit these outstanding prints in The Midlands where much of Hill’s work was conceived.  These rare prints of such beguiling luminosity, made with premium noble metals, attentive patience and meticulous precision will appeal to collectors who relish both the unique materiality and exclusivity of these influential images.

Signed copies of the recently released 3rd edition of Hill’s notable book Approaching Photography, which includes several photographs from the exhibition, is also available to purchase alongside a selection of smaller, vintage prints from the Print Room.

Prenotations Remastered opens Friday 17 September 2021
Opening times: Wednesday – Saturday, 12noon – 6pm
Strict social distancing guidelines so the opening reception will take place throughout 17th September from 12noon - 6pm.  

Images: © Paul Hill. Top: Man against snow. Lower: Girl in striped shirt. 

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12201167499?profile=originalThe first ever retrospective exhibition of US photographer, Marilyn Stafford (b.1925), launches this year, encompassing the most comprehensive display of the photographer’s work to date. Works come from an international archive spanning four decades, and include celebrity portraits, fashion shoots, street photography, humanitarian stories and newspaper reportage. 

This exhibition, A Life in Photography, will tour institutions in the UK between August 2021 and November 2022, providing a reflective and engaging look at a period of 20th century history through the photographer’s unique gaze. It will feature many of the stories from her career, which remain untold, with images never seen before by the public. 

An accompanying retrospective book of her work Marilyn Stafford: A Life in Photography will be available from from October 2021, including an essay by Jennifer Higgie. 

Marilyn Stafford’s photography career got off to a remarkable start when she was invited, as a young woman, to take stills of Albert Einstein. Since then, she has accumulated an eclectic body of work, spanning from 1948-1980, including further portraits of famous and influential figures such as Edith Piaf, Henri Cartier-Bresson, Mulk Raj Anand, Indira Gandhi, Albert Finney, Twiggy and Joanna Lumley. She has also photographed many ordinary people like the illiterate Sicilian peasant woman, Francesca Serio, who took the Mafia to trial for murdering her son. 

More information : 


Farleys House and Galleries: 12 August - 31 October 2021.

Brighton Museum and Art Gallery: 26 Feb - 8 May 2022 

Dimbola Museum and Galleries: 15 June - 17 September 2022 


Girl with milk bottle, Cité Lesage-Bullourde, Paris, c1950


Twiggy, press call, London, 1960


Marilyn Stafford, Lebanon, 1960 (photographer unknown) 


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12201161494?profile=originalDon’t Press Print is an annual conference organised by the University of West of England's Centre for Fine Print Research and the Royal Photographic Society. In 2020 the conference looked at the collodion process and its contemporary practice through the eyes of twenty artist-printmakers and photographic historians.

Registration is open. 

The conference will now be wholly online due to travel issues for speakers and potential registrants in attending and the cost has been lowered accordingly. 

See the full programme and register here:

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12201167296?profile=originalThe First Symposium of the Photography Network will be held virtually from October 7 through 9, 2021, jointly hosted by the Photography Network and Folkwang University of the Arts, Essen.

Over the last twenty years, the study of photography’s history has been characterized by, among other things, two opposing strands: a concentration on the photograph’s status as an object and a concern with the decidedly virtual quality of its images and practices. The 2019 FAIC conference »Material Immaterial: Photographs in the 21st Century« considered these two directions in photographic conservation, asking if the physical photograph still matters today as a source of teaching, learning, and scholarship when the intangibles of code now direct the production and archiving of images. Now, from a methodological direction, this Photography Network symposium seeks to inquire further into the historical implications of the increasing distance between photography’s status as an object and its life as what could be called the intangible »photographic.«

Given this consistent cleavage, the symposium asks; Where do the object-based and the virtual meet in photography’s histories? How can these two strands in photo studies be brought together and harnessed to reconsider existing problems or launch new investigations?

Full details and programme are here:

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12201166665?profile=originalThis online talk: 'the doing and the unfixing of family photographs' is a conversation event with Annebella Pollen (Reader in the History of Art and Design, University of Brighton) and Rachel Maloney (V&A / University of Brighton Research Fellow 2019-2021). This event will be held online but will be hosted live from the gallery space of Rachel's exhibition 'The Matriarchive' and will be chaired by Polly Wright from Brighton CCA.

'the doing and the unfixing of family photographs'
9 September 2021, 1630-1730 (BST)
Free, register here:

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12201173285?profile=originalThe Public Domain Review has published an essay by John Bevis in which he explores the various feats of cunning and subterfuge undertaken by the Kearton brothers — among the very first professional wildlife photographers — in their pioneering attempts to get ever closer to their subjects. 

Bevis's latest book The Keartons: Inventing Nature Photography, was published in 2016 by Uniformbooks. For more information and contact, go to

Read the full piece here:

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12201162681?profile=originalThe Eastern Daily Press has reported that the five-bedroomed house, formerly occupied by photographer Olive Edis in Sheringham, is up for sale with a guide price of £550,000. After marrying her husband, Edwin Henry Galsworthy in 1928, the couple moved into their new home on South Street. Edis had an extension built to copy her earlier studio in Church Street. The studio remains part of the property and features a high-vaulted ceiling, north-facing windows and an original solid fuel stove. After Edis's death in 1955 the house was bought by photographer Cyril Nunn, her former assistant. Nunn was responsible for much her archive being sold to Cromer Museum. 

12201163073?profile=originalOlive Edis is best known for her early colour, as the first female official war photographer and for her studio portraiture. The main collections of her work are held at Cromer Museum and IWM London. 

For details of the property:

To see the full press report see:

Images: Top: the exterior of the house; left: the studio.  Courtesy: Arnold Keys.

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12201165665?profile=originalSome of the most famous and instantly recognisable faces of 20th and 21st century culture engage the viewer directly or appear to gaze distractedly elsewhere in Hampshire Cultural Trust’s retrospective of the internationally renowned photographer, Paul Joyce, in the year of his 80th birthday.

Celebrated for his painterly eye, Hampshire-born Joyce often chose formal or classic poses for his subjects, many of whom are icons of film, art, music, theatre and, of course, photography.

In A Life Behind the Lens, at The Gallery, Winchester Discovery Centre, Joyce’s sitters also mark historical moments in a variety of genres, not least his capturing of three legends of photography: Ansel Adams, Bill Brandt and Brassai, sitting together on a bench, in the garden of the V&A in 1976. His portraits of celebrated movie makers, including Sir Carol Reed, Francis Ford Coppola and Quentin Tarantino, show his fine eye for revealing character and expression through close-up shots of their faces.

The classic phrase ‘I’m ready for my close-up’ is exemplified by his portraits of film stars such as Dennis Hopper (shot in Venice, California in 1994), Sophia Loren (Geneva, 1995), Martin Sheen (West Hollywood, 1996) and Robert Redford (Sundance, 1994). This phrase came from one of Hollywood’s greatest film noirs, Sunset Boulevard directed by the legendary Billy Wilder, also a subject of one of Paul’s iconic portraits.

His artistic skills are also demonstrated in unflinching, but sympathetic, portraits of such luminaries as fellow photographer, Bill Brandt, writer and film star, Dirk Bogarde, and singer, Eartha Kitt. Joyce wonderfully captures both the fragility and deep intelligence of the comedian and author Spike Milligan, in an image that suggests the influence of Renaissance masters such as Titian, Raphael and Van Eyck on Paul’s own portraiture.

12201166076?profile=originalClose friend David Hockney appears several times in the exhibition, from a rather youthful-looking artist standing in front of one of his paintings in 1981, to a photo taken in Bridlington just a decade ago, which was inspired by Orson Welles’s film, The Trial. Here, the artist stands against a brick wall, with rays of light passing between the exterior stairs creating geometric shapes on the brickwork and Hockney’s suit.

The reciprocal aspect of their friendship is demonstrated by the inclusion of a painting of Paul, created by Hockney himself. 

Born in 1940, Paul Joyce spent his early childhood in Whitchurch, Hampshire, before building a global reputation as a documentary film maker, writer, photographer and painter. The great-great-nephew of James Joyce, it was perhaps inevitable that Paul would become a photographer and artist.

To celebrate his life and work, A Life Behind the Lens brings together more than 50 of Paul’s exceptional portraits, along with a selection of paintings and objects that reflect his remarkable career.

Although his first exhibition was in Nottingham in 1974 - followed by his breakthrough exhibition, Elders, at the National Portrait Gallery in 1978 – Joyce had already created an international stir, with his iconic, 1967 portrait of Jane Fonda as ‘Barbarella’. Ironically, having been invited to shoot a film about the making of the movie by Paramount Pictures, Paul had the chance to try his hand at photography and duly borrowed Nikon and Leica equipment from the Magnum photographer, David Hurn. It was the first time that he had seriously handled a still camera and he still thanks Hurn for this gesture of friendship and encouragement.

Relying on his guile, charm and wit, Joyce often had to coax his subjects into agreeing to be photographed. In the case of Beckett, he explained just how resourceful he could be: “He (Beckett) hated to be photographed. Sam was rehearsing Happy Days with Billie Whitelaw at the Royal Court Theatre in ‘79 and he’d invited me to the rehearsals. The theatre had a little yard where they used to back lorries in for scenery to be delivered, so I left the camera on a tripod outside, close to a pile of black rubbish sacks and a broken chair without a full set of legs. There was a fire escape up to the bar and I knew that Sam had a Guinness at lunch. So, I waited until he’d had a couple of pints and then said, “Photograph?” and he at first protested, but I said if you come down to the yard, you’ll see that it’s all set up down there. So, he went down the stairs and he looked outside and saw this tip below, and all those black and purple bags, and he said, “Ah, wonderful, rubbish!” And I said, yes, that’s right. Tons of it!” 

Complimenting the many famous and well-known faces, the exhibition includes a number of photographic landscapes, not least because Joyce cites the influence of the renowned landscape painters Paul Nash and Graham Sutherland on his work.

The exhibition is curated by Colin Ford CBE, former director of the National Museum of Wales. It was Ford who curated Joyce’s first London exhibition, Elders, at the National Portrait Gallery in 1978. He says “The introduction I wrote in the catalogue of Paul’s 2010 exhibition Unseen Portraits 1967-2009 begins “It is astonishing to be reminded (but impossible to deny) that Paul Joyce first showed me some of his early photographic portraits at the National Portrait Gallery more than thirty years ago.”  Now forty-five years later, it seems even more amazing, but very pleasurable, to be able to round off a story which began when I was the first curator of photography in any British national museum or gallery, and to recognise how well his pictures have stood up to the test of time.”

A life behind the lens: Paul Joyce
The Gallery, Winchester Discovery Centre, Winchester
27 August– 10 November 2021

For more information about A Life Behind the Lens and other exhibitions throughout Hampshire, follow @HantsCulture on Twitter and Instagram, like the Hampshire Cultural Trust Facebook page, or visit

Image:s © Paul Joyce. Top: Sophia Loren . Lower: David Hockney.

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12201173254?profile=originalDominic Winter's auction of Printed Books, Maps, Autographs and 29th Century Photography on 8-9 September includes part one of the Richard Sadler collection (lots 287-308)  and other twentieth century photography. Richard Sadler (1927-2020) was a photographer, teacher and editor and is best known for his photograph of Weegee (1963). His collection includes work from John Blakemore, Bill Brandt, his own photographs and from other photographers. Other photographs in the auction (lots 309-342 include that of David Bailey, Ray Bellisario, Alvin L Coburn, and work from China, Hong Kong and elsewhere. 

The catalogue can be seen here:

Image: Richard Sadler, John Blakemore at home, c1990s. 

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12201161658?profile=originalA new publication from Denis Pellerin and Dr Brian May of the London Stereoscopic Company will, for the first time, give a full account of the first thirty years of stereoscopy, an extraordinary scientific, artistic and social revolution that was started by Charles Wheatstone, Professor of Experimental Philosophy at King’s College London, before photography's announcement in 1839. 

In the words of Brian May "STEREOSCOPY - the Dawn of 3-D" - is the book I have dreamed of publishing since we resurrected the London Stereoscopic Company in 2006.

I12201162255?profile=originalt’s actually the most important book we have ever produced, because it chronicles the birth and first steps of what we now call 3-D – the very core of what we at the LSC proudly bring to the 21st Century. Denis Pellerin, probably the foremost stereo photography historian in the world right now, has made it possible, with his uniquely original research, to put the historical record straight in this book. It’s quite shocking that nobody has undertaken to tell this story in its entirety until now, and some of the revelations you will find in the book are in themselves shocking, because so many falsehoods have been perpetuated over the years about what actually happened."

Publication is scheduled for 10 November 2021 and will be supported by an online event at King's College, London, hosted by the British Library.

STEREOSCOPY - The Dawn of 3-D
Denis Pellerin and Brian May
ISBN: 978-1-8381645-0-8
OWL Stereoscope included
Price: £60
For pre-orders for the book see:

For the event:
Stereoscopy: The Dawn of 3-D. Brian May and Denis Pellerin
Wednesday, 10 Nov 2021, 1930 - 2045 (GMT) | 2030-2145 (CET) | 1430-1545 (EST) 
British Library, from King's College chapel, London, online
Booking from 19 August 2021:

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Hi Everyone...I hope that some of you might be interested in Frederick Evans lantern slides. I had the opportunity to go to the Centre for Creative Photography in Arizona to study his Lincoln Lecture lantern slides along with his lecture notes.
I have written about them in this article published in JSAH (Journal of the Society of Architectural Historians)  Though written from an architectural history perspective I have included a lot of research on Evans's lantern lectures which some of you might enjoy. It also includes a contact sheet layout of all of the slides in sequence which is nice to see.

Dervla MacManus
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12201175873?profile=originalAn upcoming talk at the Chau Chak Wing Museum (University of Sydney, Australia) may be of interest to readers:

John Henry “Harry” Iliffe OBE FSA (1902-1960) was a British classical archaeologist and the first keeper of the Palestine Archaeological Museum (Rockefeller Museum) in Jerusalem. As an official of the foreign Mandate administration, Iliffe occupied a privileged position in Jerusalem society, and played a key role in the development of the Museum and the archaeological landscape of Palestine up to the end of the Mandate in 1948. Later, Iliffe excavated for several seasons at Kouklia (Paleo-Paphos) on Cyprus with TB Mitford. Iliffe’s archive, including photographs, papers and diaries, is held by the University of Queensland’s Fryer Library, after being donated by members of his extended family in 2012. The RD Milns Antiquities Museum holds three antiquities that were also part of the Iliffe collection and in 2019 collaborated with the Fryer Library to produce the exhibition “Contested Histories: Photographs from Mandate Palestine in the JH Iliffe Collection”.

Exploring the archives of JH Iliffe
Speaker: James Donaldson
Date: Thursday 19 August, 6.30pm AEST |  0930 (BST) | 1030 (CET)
Registration essential; more information here.

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12201172281?profile=originalThrough the good offices of the author, John Hannavy, the last remaining copies of his book The Victorian Photographs of Dr. Thomas White and John Forbes White are available to purchase from the RPS (at the link below) at a price of £12 including postage. 

A major biography of two of Scotland's leading pioneer amateur photographers in the 1850s, illustrated throughout in colour from prime examples of their surviving salted paper prints. The images have been drawn from major collections in the UK, USA and Canada.

Written and researched by John Hannavy The Victorian Photographs of Dr Thomas Keith and John Forbes White explores the life and work of two of Scotland's most important early photographers. Interest in the early Waxed Paper photography of Thomas Keith and John Forbes White has increased considerably over the years and this book involves a major reappraisal of the work of these two eminent amateurs. 

A great deal of significant work has been undertaken by numerous researchers on mid-19th century Scottish photography in the past thirty years, making it possible now to place the work of these talented amateurs within the much more clearly understood context of early photography in Scotland.

Examples of the superb work of both men will be drawn from collections in Europe, Canada and America, including many images rarely if ever seen before. It will be illustrated throughout in colour to capture the unique character of mid 19th century salted paper prints.

The book is 144 pages, 265 x 210mm landscape format, casebound, and with full colour illustrations of nearly two hundred images by Keith and White and their immediate circle, as well as examples of the work of the earliest pioneers of Scottish photography.

Details and to purchase:

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Seeking photographs; Fitzrovia, London

12201171462?profile=originalGray Levett, who will be best known to many as the owner of Nikon specialists Grays of Westminster, has also had a long career as a photographer.  He is working on a project that covers life around Fitzrovia, in and around the Fitzroy area of London  between 1957 and 1960. and is  looking for images such as the transport, the pubs, the shops and the people.

He would welcome information concerning any any commercial photographers who may have been working in the area or collections of such images. 

Gray can be reached at:  



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12201164653?profile=originalAs part of Birmingham Heritage Week there will be a display Taking and displaying the photograph which will show one  hundred years of cameras made in Birmingham, and how the city manufactured ways to show and display the resulting images.  It will be an opportunity to see mahogany wood and brass plate cameras through to cheap plastic snapshot cameras as well as the magic lanterns, projectors, photograph albums, frames and the images themselves that the cameras would have taken.

Library of Birmingham, Level 4, Heritage Learning Space Centenary Square, B1 2ND
16-18 September, from 1100-1700 daily


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12201169700?profile=originalOn behalf of the Japan Society in London, a charity organisation promoting learning and understanding between Japan and the UK I wanted to invite you to our upcoming free online lecture on photographer Herbert Ponting. The lecture will explore the life and career of Ponting focusing on his work in Japan, but it will also touch upon his previous experience as photographer and filmmaker for Captain Scott’s second Antarctic Expedition (1910-13).

12201170695?profile=originalYou can find all the details and how to book on our page, or please let us know if you have any questions ( We look forward to seeing you online at the lecture.

Best regards,

Alejandra, The Japan Society


In Search of Herbert Ponting in Japan, with author Anne Strathie
Monday 16 August 2021
Time  6.45pm (BST)
More information and to book:

Images: Two views of Fuji-san: Ponting climbing upper slopes with guide, bearers and photographic equipment; from a distance, across Lake Motosu, with kaia grass in foreground (Photographs by Herbert Ponting, images © A. Strathie).

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12201169854?profile=originalDetails of the programme and registration is now available for Don’t Press Print 2: De/Reconstructing of nineteenth-century photomechanical reproduction which is being hosted by the Centre for Fine Print Research based at the University of the West of England and the Royal Photographic Society. 


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12201175087?profile=originalThe Institute of Conservation (ICON) Virtual Open Studios and  Scottish Council on Archives has been running a series of practical online seminars with conservator Susie Clark. Under the banner of 'Getting to Grips with your Photographic Collection' it is aimed at professionals and the public. There are three recordings from the series so far: an introduction, daguerreotypes, ambrotypes and tintypes, and prints. More will be added in due course.

The recordings can be viewed here:

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12201161076?profile=originalThe 13th International Seminar on the Origins and History of Cinema is now open for registration and the programme published. The theme is virtual worlds in early cinema: devices, aesthetics and audiences It will take place online 20-22 October 2021.  Registration is open until October 15th

The programme can be seen here: and registration is here:

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12201159658?profile=originalWhen English Heritage launched Your Stonehenge: 150 Years of Personal Photos, an 1875 photo of the Routh family’s day out was the oldest family photo contributed to the exhibition. The charity issued a challenge for people to sort through their old photos and find an even earlier image.

Among the pictures sent in was a stereocard from the early 1860s, discovered in the collection of Queen guitarist Dr Brian May. The stereocard was discovered by curator Rebecca Sharpe as she worked through the digitisation of some 100,000 stereographs. Further research by her and her co-curator Dr Denis Pellerin have added to our knowledge of the photographer, Henry Brooks, of Salisbury.

Brooks was a commercial studio photographer and the card is believed to show his wife, Caroline, daughter, Caroline Jane, and son, Frank, in the early 1860s. The card was sold through his shop and this example eventually found its way in to May's collection. 

English Heritage is now searching for descendants of Henry Brooks and his family - presumably with a view to recreating the scene some 140 years later.  If you think Brooks may a forebear of your family tree, please contact EH at

Rebecca has blogged about the research process and you can read a detailed biography of Brooks based on her and Pellerin's research here: Both parts of the stereocard can also be seen.  

There are, of course, earlier photographs  of Stonehenge, such a Sedgfield's views of 1857 but these do not fit the definition of family photographs. Unless you know better... 

Dr Brian May has what is believed to be world’s largest collection of over 100,000 in his archive This is now in a charity, The Brian May Archive of Stereoscopy,.to ensure this important resource stays together for future historians. 


Image: Henry Brooks, Stonehenge with family members, one-half of a stereo pair, c.1860s. Courtesy: Brian May Archive of Stereoscopy. 

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