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12201203894?profile=originalUsing a long-term historical perspective, this issue of Transbordeur will examine the relationship between photography and ecology as understood in multiple ways: 1) ecology as an interdisciplinary science that emerged in the nineteenth century, 2) the specific political agenda of different movements defending environmental causes as public concern for them increased significantly in the second half of the twentieth-century 3) ecology as the object of social and philosophical movements which have brought into question the binary opposition of nature and culture in Western society, and finally 4) the ecological impact of the photographic industry in its dependence on extraction, petrochemical derivatives, and more recently digital technologies.

Authors are encouraged to question photography’s assumed capacity to capture the relationship between societies and their ecosystems, and to perceive life systems in their totality throughout the nineteenth and twentieth centuries. How have photographic images and practices contrived to render life on Earth intelligible or legible? How have major theories of life and life-systems, as well as cultural myths of life on Earth, shaped and been shaped by photographic images and their use since the 1860s? What have been the social, political and environmental impacts of these images in all their ambiguities, limits, and paradoxes?

We are seeking papers which emphasize a diachronic, comparative approach to examine the form, materiality and social agency of photographic images since the nineteenth century as related to the following themes: 1) photography and the science of ecology, 2) photography in the history of public awareness of ecological issues, as well as preservationist and conservationist movements, and ecological activism, 3) the relationship between photography and different currents of ecophilosophy in history, and 4) the ecological impact of photography as a material practice.

The full CFP can be downloaded here. Or see here: https://transbordeur.ch/en/tr8-cfp/

Abstracts must be sent to Estelle Sohier (Estelle.Sohier@unige.ch), Teresa Castro (Teresa.Castro@sorbonne-nouvelle.fr) and Brenda Lynn Edgar (Brenda.Edgar@unige.ch) before September 15th 2022.

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12201207076?profile=originalHelmut Newton (1920-2004) was one of the most singular and successful photographers of his generation, known for his provocative fusion of fashion, portrait, and erotic subjects. Philippe Garner, a 50-plus years veteran of the art auction world, has admired Newton’s work since he discovered it in the late sixties.

He met Newton in 1975 and enjoyed his friendship until the photographer’s death in 2004. Now Vice-President of the Helmut Newton Foundation, he looks back on Newton’s life and work.

Helmut Newton: Living to make pictures. In conversation with Philippe Garner
Tuesday 12 July, 6.30 pm BST
Online: https://benuri.org/whats-on/

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12201206267?profile=originalA commemorative blue plaque in honour of photographer and business woman Daisy Edis has been unveiled at her former home at The Green, Gilesgate, Durham. It was unveiled by her grandson George Spence. 

Daisy Edis (1887 (sic) - 1964) built up the photographic and studio business founded by her father John R Edis in Durham and earned national and international recognition. She was also one of the founding members of the re-formed Durham Photographic Society in the late 1940s. She was a member of the Royal Photographic Society from 1933 and gained her Associate the same year and Fellowship in 1935. She remained a member until her death. She was also a Fellow of the Institute of British Photographer. Edis started working in photography aged 15 years. 

The City of Durham Parish Council authorised and organised the ceremony. 'ne of the event organisers, Dr Lucy Szablewska, said that Daisy's plaque was one of a number of initiatives across Co Durham to honour more women with blue plaques. Carl McSorley who runs the replica Edis photo shop and studio at the Beamish Open Air museum attended, formally dressed in bowler hat and vintage suit for the occasion.

Daisy’s father John R Edis founded the highly succesful photographic business in Durham, in the late 19th century. After his death daughter Daisy carried on the business, expanding its range of activities, including work, some of it highly technical, for Durham University. Although Daisy was married as a young woman and became Mrs Spence sadly her husband died after a few years and Daisy continued to use her maiden name of Edis by which she was well known.

According to the RPS's Photographic Journal (June1964) Edis specialised in portraiture and was well-known for her work with the cathedral, university and school in Durham. She was one of the last users of the platinum process and her work was widely shown in Britain Europe, Australia,Japan and the United States. 

With thanks to Lucy Szablewska 

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12201205499?profile=originalScotland's Panoptician: Investigating the Image-World of George Washington Wilson is an online exhibition curated by Ashleigh Black, a doctoral student in Film & Visual Culture at the University of Aberdeen. It uses, and takes inspiration from, the University of Aberdeen's collection of around 38,000 glass plate negatives taken by Wilson and his company GWW & Co spanning the length and breadth of the British Empire. The collection was donated by local photographer Archie Strachan in the 1950s.

Take a look here: https://panopticvisions.omeka.net/exhibits/show/scotlandspanoptician/about-george-washington-wilson

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12201203488?profile=originalDuring the 1850s and 1860s, the craze for stereo photography was at its height, and this period coincided with the completion of the construction of the Clifton Suspension Bridge, ahead of its opening on 8 December 1864. Work had started on the bridge back in 1831, but was abandoned for 11 years between 1842 and 1853 when funds ran out. Sadly Brunel himself died in 1859 before the bridge could be completed.

The progress of the construction of the bridge, like other Brunel projects such as the SS Great Eastern, was documented in glorious 3-D by a number of different working photographers who were enthusiastic advocates of stereo photography. These cards bring this incredible work to life as no mono photographs ever could and are available at the Clifton Suspension Bridge https://cliftonbridge.org.uk, as well as here, directly from the LSC shop. 

Size: 90 mm x 180 mm
Presented in a plastic wallet with complimentary Steam Punk OWL designed by Brian May. £10.00

See: https://shop.londonstereo.com/clifton-suspension-bridge-early-stereo-views-of-brunels-masterpiece.html

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