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12201204084?profile=originalNineteen carte-de-visite portraits of Charles Darwin are estimated to fetch £50,000-100,000 when they are offered at auction next week. The cartes are contained in an album was compiled by  Henrietta Emma Litchfield, the daughter of Darwin and is inscribed with her husbands name, R. B. Litchfield. 

The cartes include portraits by Maull & Polyblank, circa 1855, Elliott & Fry, O. G. Rejlander, circa 1871;and Julia Margaret Cameron, circa 1874,

12201204863?profile=originalCharles Darwin's profound interest in photography is well documented, he not only used photographs in his research, but also freely exchanged carte de visite portraits to friends and colleagues through letters. His friend the botanist Joseph Dalton Hooker termed Darwin’s exchange of photographic images as his 'carte correspondence'. This was an important tool for Darwin to cement his international scientific network, photographic portraiture was also fundamental to establishing Charles Darwin as a celebrity. He is believed to have sat for photographs on 18 separate occasions resulting in 32 different poses.

Two proceedings lots also containing albums of photographs of Darwin interest. 

Royalty, Fine Art & Antiques
9 November 2022
Reeman Dansie, lot 1072
See details here


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12201203075?profile=originalWhat role has the photographic darkroom played in the histories of photography and visual culture? How has this space, at times known as the camera obscura, developing room, laboratory, operating room, operating box, darkened chamber, photographic tent, dark tent, and developing tent, shaped ways of living and knowing?

Historical accounts of the wet darkroom are sparse, and critical discussions largely limited to this space as the site of photographic manipulation. Yet, the darkroom is not a neutral container for photographic production, but a space with its own materiality, rhythm, and choreography that has been central to experiences of, for example, scientific experimentation, research, learning, commerce, colonial encounters, political and cultural agency, sociability, and individual and artistic expression.

This hybrid two-day event initiates a critical conversation about the largely overlooked space of the darkroom, and outlines new ways to research, theorise, and interpret the roles that it has played in our modern world. In the Photographic Darkroom will seek to do so by shifting the focus from the visual product (e.g., negatives and prints) to the setting itself within which these objects were produced, positing that the material, socio-cultural, and corporeal dimensions of the darkroom had an influence on how people conceptualised and, consequently, understood photography. This will enable us to rethink the role of photography in the development of modern visual culture, and its wider historical relations, from fresh viewpoints.

12201202689?profile=originalTo this end, we invite papers for 15 minute presentations from academics, practitioners, and museums and archives professionals at all career stages working in research areas such as photographic history, visual culture, media and communications studies, social, cultural and media history, cultural studies, history of art, archives and records management, and any other related fields of research.

Proposals may explore, but are not limited to:
• Commercial photographic laboratories
• Bodily and sensory experiences in the darkroom
• Darkroom diseases
• Darkroom networks and related communities of practice
• Darkroom practices vis-à-vis visual epistemologies
• The darkroom technician
• The darkroom in visual and popular culture
• Global histories of the darkroom (from any historical period)
• Historic darkrooms
• The material culture of the darkroom
• Performative and tacit forms of knowledge in the darkroom
• Portable darkrooms
• Power relations in the darkroom
• The relationship between the darkroom and the natural environment
• The relationship between the space of the darkroom and its place within urban and
not-urban contexts
• Researching the darkroom in archives and special collections

Paper proposals should be submitted as ONE Word or PDF document to Dr Sara Dominici by Monday 9th January 2023. The document should include:
• Your full name
• Email address
• Institutional affiliation (when applicable)
• Paper title
• Proposal of no longer than 300 words for presentations of 15 minutes
• Indication of whether you would be presenting in person or online
• Short biographical note (100-140 words)

Event format: The event will take place at the University of Westminster in London (UK) in hybrid form and we will be able to accommodate a number of online presentations. The language of the event will be English.

Importantly: Selected speakers will be invited to contribute extended versions of their papers to a journal special issue or edited volume on the same theme. Please could all the applicants consider their paper proposals for research not yet published elsewhere as expressions of interest to contribute to the edited publication as well, or specify in the document itself if their paper proposal is based on research that has already been published elsewhere and/or if they would not want to be considered for the edited publication.

cfp: In the Photographic Darkroom
Thursday 8th and Friday 9th June 2023
University of Westminster, London (UK) & hybrid
Deadline for paper proposals: by Monday, 9th January 2023

Download this call here:

Images: photographic trade catalogue covers / Michael Pritchard

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12201208070?profile=originalPhotography has become an essential part of how we communicate and understand the world around us. This introductory course hosted by The Photographers' Gallery, will look at movements and ideas that have shaped the development of photographic practice, through engaging with artworks, critical texts and photographs as visual culture.

Sessions will discuss photography and photobooks that explore themes including identity, power, history, as well as artistic movements of 19th and 20th century. Sessions will range across time periods and topics to show how they relate to contemporary issues. 

Course format

Taking place weekly on Zoom, sessions include a blend of lectures, group discussions and presentations. Participants are provided with lecture slides and a list of resources for further study.

Who is this for? 

Open to all who are interested in the many histories of photography and art. No prior knowledge necessary. 

This course is led by Dr Briony Carlin

Briony Anne Carlin is an academic and curator based between London and Newcastle upon Tyne. She is a Doctoral Candidate at Newcastle University, where she also teaches Art Histories in the department of Fine Art. She has a PhD in Media Culture Studies from Newcastle University, awarded for her thesis ‘Bindings, Boundaries and Cuts: Relating Agency and Ontology in Photobook Encounters’.

Briony is currently an Associate Fellow of the Higher Education Academy and worked formerly as assistant curator of photographs at the Victoria and Albert Museum, where she contributed to exhibitions including Into the Woods: Trees in Photography (2017) and the inaugural Photography Centre (2018), and conducted research with the Royal Photographic Society Collection and the Maurice Broomfield Archive. She continues to work on independent curatorial projects.

Introduction to Photographic Histories
Weekly, Tue 01 Nov 2022 - 8:30pm, Tue 06 Dec 2022 at 1900 (BST)
Price: £185, £165 members & concession

Location: Zoom
Full details and booking are here:

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Call: The Sloan Fellowship in Photography

12201201468?profile=originalThe Bodleian Libraries is offering a series of Fellowships. Of particular note is the Sloan Fellowship in Photography which is offered in conjunction with Trinity College, Oxford. It encourages researchers to come to Oxford and use Bodleian Libraries collections to advance their research in the history of photography and photographic books. 

The current Fellow is Tomáš Dvořák (see:

To see more and apply visit:

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12201207858?profile=originalGoogle Arts and Culture has pulled together a series of photographs showing photographs from the recent Daily Herald Archive digitisation which look behind the scenes at the British branch of Kodak, and of Ilford photography manufacturing in the 1930s.

See the blog post here:

The digitisation project was first reported here:

Image: Film coating machine at Ilford. Daily Herald Archive. Copyright Mirrorpix, Hulton Archive/Getty Images, and TopFoto.

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12201202274?profile=originalTo accompany the exhibition To Be Read At Dusk: Dickens, Ghosts & the Supernatural on view at at the Charles Dickens Museum, photographic historian Denis Pellerin, from the Brian May Archive of Stereoscopy, will give an online 3-D talk, at 4.00 p.m. (GMT) on Wednesday 2 November 2022.

Join Denis on a journey through the London of Charles Dickens with over a hundred stereo photographs, most of them from the Brian May Archive of Stereoscopy. Discover some of Dickens’s immortal characters – including the ghost of Jacob Marley, Mr. Pickwick, Little Nell and others – meet some picturesque figures he could have included in his novels and see the great man himself, in glorious 3-D. Three never-seen-before stereoscopic portraits of Dickens will be shown during this forty-minute talk, which will be followed by Q&A. 

The event is free on Zoom, but you will need to register here:

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12201211655?profile=originalAnnebella Pollen, Professor of Visual and Material Culture at the University of Brighton, and Jayne Knight, collaborative PhD candidate (University of Brighton / National Science and Media Museum), discuss their shared work on the Jean Straker (1913-1984) archive which was deposited at the National Science+ Media Museum in 2007. 

Read the full blog post here:

Photograph: Jayne Knight

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12201210861?profile=originalJoin MA Curating student Jocelyn Gale for an in-depth look at the Ten.8 magazines held at the Martin Parr Foundation, with special guest speaker Darryl Georgiou. Jocelyn has been working closely with the MPF collection for the past year and Darryl Georgiou is an artist and educator, and currently Professor of Media Arts at various UK and overseas universities. The Foundation is home to a complete set of Ten.8 magazines.

Ten.8 was a counter-cultural publication founded in 1979 and published quarterly up until 1992. It looked at the relationship between photography, knowledge, culture and power. Darryl has undertaken several important roles for Ten.8 including Picture Editor, exhibitions manager of Ten.8 Touring as well as Director of Ten.8 Ltd.

Jocelyn and Darryl will start the event with an informal talk about the history and future of Ten.8 magazine, followed by a look at material from the MPF library focusing on Ten.8. This will be followed by a group discussion.

MPF Collection in focus - Ten.8 Magazine
26 November 2022 at 1400 (GMT)
Bristol, Martin Parr Foundation
In person, limited to 15 places
£5 / £3 students
Book here:

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12201206874?profile=originalAs part of a forthcoming display at the V&A Museum, London, about the history and use of different cameras, the museum is seeking donations of a small selection of negatives. Ideally, the subjects depicted in the negatives will be visible (ie. landscapes are difficult to read at such a small scale) and global in geographic location - not just from the UK.

Please do get in contact if you have anything in your personal collection that you would consider donating or know of someone who might be interested.

  • One half plate collodion negative (ideally a portrait or still life) (1880 – 1895)
  • Strip of black and white 35mm negatives (dates about 1933-43)
  • Strip of black and white 120 negatives (dates about 1928-38)
  • About six Kodachrome slides (in mounts) (dates about 1959-69)
  • Strip of Kodak 126 cartridge film negatives (dates about 1965-75)
  • Strip of colour negatives (ideally Fuji) (dates 1990-2000)

 With very best wishes,


Hana Kaluznick | Assistant Curator, Photography
V&A South Kensington | Cromwell Road | London | SW7 2RL

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12201200700?profile=originalJoin Joan Schwartz, Leverhulme Visiting Professor at Royal Holloway, University of London, in this public lecture where she will discuss the challenges of photograph digitisation.

Under pressure from institutions, funders and users, collections managers often make photographs available online as searchable single items. In the process, meaningful information about the physical and intellectual contexts of creation, circulation, and viewing is sacrificed at the altar of speed, quantity, convenience, and the almighty dollar. In this lecture, Prof Schwartz is concerned with troubling changes, subtle and otherwise, brought about by digitization, whereby in the name of searchability important information about materiality, context, and meaning are often lost. Drawing on professional experience as a photo-archivist and scholarly interests as a photographic historian, she critiques examples of digitization and description initiatives, with a view to highlighting their potential pitfalls and encouraging best practices grounded in a deeper understanding of the power of photography as a form of visual communication. The result, she argues, is a broader appreciation of the critical differences between search and research, content and meaning underpinning access to and use of online images by cultural and historical geographers.

The Lydia & Manfred Gorvy Lecture Theatre,
V&A South Kensington
Thursday, 27 October 2022, 18.30 – 20.30
Book here:

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12201199476?profile=originalThe CHSTM working group on Colour Photography in the 19th Century and Early 20th Century: Sciences, Technologies, Empires is hosting Catlin Langford who will be talking about Autochromes and Representation on Tuesday, 18 October 2022 from 1430 to 1600 BST. 

The talk is open to members of the Colour Photography in the 19th Century and Early 20th Century: Sciences, Technologies, Empires. Membership of the group is free.

For more information, see

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12201213295?profile=originalBonhams auction of Fine Books and Manuscripts on 9 November 2022 includes several lots of photographs. Three in particular stand out. Lot 32 is a portrait photograph of Alfred, Lord Tennyson, by Julia Margaret Cameron, given by Cameron to Mrs Tennyson in 1869. The print is estimated at £1500-2000. 

The second is lot 33 an album compiled by Lady Emily Ponsonby, née Bathurst (1798-1877), containing a collection of some 45 early photographs, the majority taken by her son Lt. Col. Arthur Edward Valette Ponsonby (1827-1868). Amongst several related items of ephemera are a Henry Ponsonby pen and ink sketch of Mrs Verschoyle taking a photograph in Eaton Square, July 19 1855, and a printed flyer for 'Photographic Sketches of People & Places in Corfu by Arthur Ponsonby', printed by Silver, Hypo & Son., Printers, 1859. Estimate £4000-6000. 

Lot 336 is a group of nine vintage photogravures by George Davison, including views of Harlech, 'The Onion Field', and southern France, seven are signed by the photographer, c.1890-1927. Estimate £1500-2500. 

Details of all lots are here:

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12201212882?profile=originalCurated by Sabrina Meneghini, Curator and Archival Assistant at the Royal Commonwealth Society Department of Cambridge University Library, this exhibition presents reproductions of photographs and paintings by British artist Alfred Hugh Fisher (1867-1945).

The Fisher Collection, held in the Royal Commonwealth Society (RCS) Library at Cambridge University Library (CUL), is the subject of Sabrina Meneghini’s research and was the focus of her dissertation: ‘Classroom Photographic Journeys; Alfred Hugh Fisher and the British Empire’s Development of Colonial-era Visual Education’.

In 1907 the Colonial Office Visual Instruction Committee (COVIC) hired Fisher, a writer and newspaper illustrator, to document photographically the people and landscapes of the British empire in order to facilitate school education. Fisher toured the empire for three years, taking photographs and making paintings from which COVIC produced sets of lantern slides and textbooks. These were to be presented as a series of geography lessons to schoolchildren.

His journey started in South Asia where he visited Ceylon, India, and Burma; followed by Aden, Somaliland, Canada, Hong Kong, Singapore, the Malay Peninsula, the British possessions in the Mediterranean, Australia, New Zealand, and Fiji.

Furthermore, COVIC purchased images from places he was not able to visit such as the West Indies and South Africa.

The Fisher Collection has never been exhibited before. Its display in the Alison Richard Building (ARB) provides a unique opportunity to see Fisher and COVIC’s visual education project.


Image: The English School, Nicosia: boys in the schoolroom include English, Turkish, Greek, Armenian. Photographer A. Hugh Fisher, 1908

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12201204276?profile=originalThe National Science and Media Museum in Bradford has worked in collaboration with Google Arts & Culture to digitise nearly 50,000 never before seen photographs, front and back, to bring the vast Daily Herald Archive to life through new online stories and a visual experiment on the platform.  

The collaborative project adds 100,000 new images and 35,000 new records to the Science Museum Group’s online collection and increases access to this vast collection of historic images. The newly digitised images will also be showcased in 25 online stories on the Google Arts & Culture platform alongside a visual interactive experiment as well as 15 new stories on the National Science and Media Museum’s website. 

The new online stories bring the archival photos in the Daily Herald Archive to life by providing a unique look into British society and industry during the mid-20th century. Some of the stories shed light on historic periods like the campaign for a universal pension, or the rent strikes in the 1930s, while others share quirkier moments like a prize-winning giant cabbage, the world’s largest tyre (in 1931) or a 16ft beanstalk. The stories also uncover ones that have often been left untold like the long history of the Romani community in southeast England. 

The historic digitisation will be celebrated with an official launch event at the National Science and Media Museum in Bradford on 12 October. Invited guests and press will be given an exclusive preview of the newly digitised images, the online exhibit, and an interactive experiment along with the opportunity to visit the physical archive in the museum.  

12201204854?profile=originalCommenting on the collaboration, Jo Quinton-Tulloch, Director of the National Science and Media Museum said: “The Daily Herald Archive is one of the gems of our collection with over 3 million items from the newspaper that provide an incredible visual history of the first half of the 20th century. The digitisation project marks a major milestone for our museum by adding 100,000 new images to our collection and 35,000 new online records, providing wider access to the Science Museum Group’s largest public collection.  

Thanks to our collaboration with Google Arts & Culture, we can share this remarkable archive more widely and truly bring the collection to life through fascinating stories and the interactive visualisation.”  

Amit Sood, Director of Google Arts & Culture added: "Our collaboration with the National Science and Media Museum is a fantastic opportunity to explore one of their core collections in new, creative ways. The advancements in digitisation, coupled with algorithmic extraction and cutting edge AI allows users to explore a vast photo archive that captures a unique and captivating snapshot of British life." 

The Daily Herald was once the world’s top selling newspaper, and today its photographic archive is held by the Science Museum Group at the National Science and Media Museum in Bradford. The archive provides a rich visual history comprising of over 3 million items with prints from press agencies and freelance photographers alongside work created by Daily Herald staff photographers. The collection also includes 100,000 glass plate negatives and Day Books detailing the assignments allocated to the staff photographers. 

12201205467?profile=originalThe digitisation of the photo archive comes at a time when the Science Museum Group, which includes the National Science and Media Museum, continues to improve online access to its collections. Online audiences can explore more than 300,000 objects and archives through the Group’s popular online collection, which receives more than 110,000 visits each month and more than five million visits since its launch in December 2016.  

The digitisation and public enjoyment of the Daily Herald Archive has been made possible in collaboration with Google Arts & Culture.  The Daily Herald Archive project and experiment will be live at from today, 12 October 2022.   

Top: The Sun sign replaces Daily Herald, 1964. © Mirrorpix
Middle: Daily Herald readers. George Woodbine, Daily Herald, 1933. © Mirrorpix
Lower: Three steel erectors studying a building plan, Daily Herald 1935. © TopFoto

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12201209674?profile=originalUsing Ruth Locke’s Private Photographs from the Imperial War Museums Photograph Archive to Explore the Family’s Experiences and Intergenerational Memories. Alice will be examining photographs from the private collection of Ruth Locke. Ruth (née Neumeyer) and her younger brother Raimund came to England from Germany in May 1938 on the Kindertransport. They were accompanied by two photograph albums capturing their childhood in Dachau. The photographs reflect the family’s affiliation with the Lebensreform (Life Reform) movement, their appreciation of nature, the arts and culture. Alice will draw on oral history interviews with Ruth’s two sons and the blog they produced on their family history. Alice will examine the challenges and opportunities of looking at private photographs and oral testimony as sources to understand how German-Jewish children made sense of their life in Germany in the 1930s, emigration to the UK, and familial separation and loss. She will also examine how these memories were passed across generations.  

About the speaker

Alice Tofts is final year collaborative doctoral programme student with Imperial War Museums and the University of Nottingham. She holds a BA in History and French from the University of Nottingham and a Masters in Museum Studies from University College London. Her research focuses on the Imperial War Museums’ collection of photographs from private collections of Holocaust survivors. Her research explores the myriad role of private photographs in both the familial and museum sphere: as historical objects, material and social objects, objects of enquiry, and memory objects. Her approach is multidisciplinary and draws on theory and methods from oral history, anthropology, visual culture, memory studies and museology

Virtual PhD and a Cup of Tea: ‘Talking with Images’: Private Photographs from the Imperial War Museums
13 October 2022 @ 1600--1700 
Book here:

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12201209262?profile=originalThe Photographers’ Gallery has announced that Shoair Mavlian has been appointed as its new Director. Currently Director at Photoworks, Shoair will take up the post in January 2023.

As Director of Photoworks Shoair leads the strategic vision and artistic direction of the organisation including exhibitions, biennial festival, commissions, learning and engagement, publishing and digital content. From 2011-2018 Shoair was Assistant Curator, Photography and International Art at Tate Modern, London, where she curated exhibitions including ‘Don McCullin’ (2019), ‘Shape of Light: 100 Years of Photography and Abstract Art’ (2018), ‘The Radical Eye: Modernist Photography from the Sir Elton John Collection’ (2016), ‘Conflict, Time, Photography’ (2014). While at Tate Modern she helped build the photography collection and curated collection displays enjoyed by over 5 million visitors per year.

Shoair was named in Apollo Magazine’s 40 under 40 Europe – Thinkers. She has a background in fine art photography practice and the history of photography focussing on the twentieth century, emerging contemporary practice, and work
related to conflict and memory.

The post was advertised earlier this year and the candidate specification noted: 'The ideal candidate will bring nuanced knowledge and experience of photography as a medium, and an understanding of constantly evolving and emerging forms of photography in a digital world. They will have a balance of creative and strategic mindsets, experience of successfully engaging diverse audiences, and a deep commitment to the values and ethos of the Gallery. In addition to this, candidates should bring an international outlook and an understanding of public cultural organisations, both within the UK and globally.'

Matthew Stephenson, Chair of Trustees, The Photographers’ Gallery said: “On behalf of the Board of Trustees, I’m thrilled that Shoair Mavlian will lead The Photographers’ Gallery in its next chapter. As Director of Photoworks, Shoair has shown her commitment to commissioning new work, opening up photography to new audiences and activating debate about the power and relevance of photography today. This valuable experience coupled with an ambitious vision for the future of TPG, will ensure the Gallery continues to showcase the very best of international photography and inspire future generations. I have no doubt that Shoair will bring passion and drive to lead TPG and build on the exceptional legacy of departing Director Brett Rogers. In her 16 years leading TPG, Brett has tirelessly championed photography for all and made TPG one of the most dynamic, relevant and exciting cultural spaces in London today.”

Shoair Mavlian said: “The Photographers’ Gallery is a much-loved cornerstone for the photography community locally and internationally, I’m thrilled to be stepping into this role at a pivotal moment in the organisation’s history, having just celebrated its 50th anniversary. I look forward to working with the trustees and team to develop the important legacies of the directors before me, building a welcoming and inclusive home for photography and photographers in London for everyone to enjoy.

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12201202298?profile=originalPerdendosi is a collaborative work by photographer Norman McBeath with Edmund de Waal. This publication which includes de Waal's text Twelve Leaves was launched recently at the London Review of Books bookshop.

It is a study of leaves at the stage of their transformation when they have lost all colour, and become more like parchment than plant, taking up the most extraordinary shapes, giving the leaves unique identities and character. Many of the photographs were taken at the start of the pandemic in a time of daily news of increasing deaths and infections. Although not a direct response, this time had a profound influence on how Norman McBeath saw the leaves. Edmund de Waal’s accompanying text ‘Twelve Leaves’, which he describes as both autobiography and a journal of reading, is his own unique and moving response to living with these images for several months during lockdown. With a heightened awareness and increased sensitivity towards the natural world, ​Perdendosi offers a fresh perspective on the familiar.

The book is published by Hazel Press and is available for £12 from London Review of Books or Hazel Press.

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12201210900?profile=originalThe Richard Benson Lecture on the Reproduced Image commemorates the life and work of American photographer, printer, teacher and author Richard Benson (1943 – 2017). Benson developed innovative techniques for photographic offset printing and inkjet printing, embracing technologies old and new.


Thomas Palmer was hired by Richard Benson in 1982 to assist with the printing of Photographs from the Collection of the Gilman Paper Company. The project took four years, during which time Palmer learned the basics of offset print production, as well as platinum/palladium printing, photogravure and various other photographic techniques. After a stint producing photogravure editions for noted photographers, Palmer began making analog film separations for commercially printed photography books, again under Benson’s tutelage. For the last 30 years he has worked independently, transitioning from analog film separations to digitally produced image files for use in book production and digital dissemination. He has taught classes in book production at Yale University and the Rhode Island School of Design.

Jock Reynolds was the Henry J. Heinz II Director of the Yale University Art Gallery from 1998 to 2018. Over the last twenty years, Reynolds has led the Yale University Art Gallery through the major renovation, expansion, and reinstallation of its exhibition, teaching, and collection facilities, and launched an active program of collection-sharing among college and university art museums. For his work as an artist, Reynolds has garnered numerous grants and awards, including two NEA Visual Artists Fellowships and multiple NEA Art in Public Places project awards. Frequently created in collaboration with his wife, Suzanne Hellmuth, his and their artworks have been exhibited broadly in the realms of visual art and theater, and are represented in numerous public and private collections.

Richard Benson: Master Photographer, Printer, Teacher and Maker of Things
Tuesday 18 October 2022
5.15 – 6.15pm
Sir Victor Blank Lecture Theatre, Weston Library
Free event, booking required

Image credit: A portrait of Mr. Benson in 2012 from the series “From Darkroom to Daylight”, Harvey Wang. © Harvey Wang

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12201210281?profile=originalAs part of my PhD research I am taking a close look at the first Kodak cameras 1888-90, gleaning what I can from photographical journals, biographical material about George Eastman and promotional literature.

For illustration purposes, I would like a good copy of the diagram of the film path and mechanism in the first of the Kodak cameras, to be found in the manual which went with them. I am aware a copy of the 1888 manual is downloadable from, but this PDF only provides me with a low-quality image.

If anyone on BPS is in possession of an original copy, or knows another accesible source of one, or another place I could find a better resolution version of the image, I would be immensely grateful for the help. The diagram is below.

Many thanks

Peter Domankiewicz


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