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12201203856?profile=originalThis new book looks at the history of the pinhole camera. Traditionally the pinhole camera has been linked with the camera obscura, but this publication sets out to separate the two, to appreciate and understand both from their respective evolution as technical objects and from their creative potential.

The book's author, Denis Bernard, is a researcher, photographer and teacher of the history of photography and Associate in Applied Arts.

Sténopés. Histoire et théorie d’une machine naturelle
Pinholes. History and theory of a natural machine]

Denis Bernard
Éditions Mimésis Collection Images, Médiums
ISBN 978-8869763410
€22.00, 302 pages
Order from:


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12201214497?profile=originalImpressions Gallery is a charity that helps people understand the world through photography and acts as an agent for change. Established 50 years ago in 1972, we have grown to become one of the UK’s leading centres for photography.

We are seeking to appoint a Curator to work as part of our small and dedicated team in Bradford.

The Curator will manage our exhibitions and contribute ideas to the future programme, with opportunities to curate and lead on exhibitions that champion high-quality, risk-taking photography that is accessible to all. Other duties include management of our touring exhibitions, developing partnerships, implementing press and marketing systems, supporting our learning and engagement work, and assisting with the charity’s fundraising aims.

The successful applicant will join us at an exciting time; Bradford is UK City of Culture 2025. This is a game-changer, putting the city firmly on the national and international stage. Impressions continues to be a key partner and the successful candidate will play an active role in shaping our programme for Bradford 2025.

We are looking for a professional, ambitious individual with strong project management skills, who is able to balance multiple priorities. Applicants must have relevant photographic knowledge and experience of working within a professional visual arts environment.

We believe this role is an exceptional opportunity for someone with the right mix of experience, enthusiasm and initiative. The role is perfect for someone looking to take their career to the next level.

The salary for this role is £27,000 to £30,000 p.a. dependent on experience.

If required, reasonable relocation costs will be available for the successful candidate.

For more information and how to apply download our Application Pack.

Closing date: Monday 10 October 2022 at midday.

You will receive an email to confirm receipt of your application.

Interviews will be held Thursday 20 October 2022 via Zoom.

Final stage candidates will be invited to a further in-person interview at Impressions Gallery in the week commencing 24 October 2022.


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12201207673?profile=originalMichael Kurtz who undertook a summer placement with Four Corners in July 2022, as part of its ongoing collaboration with Birkbeck, University of London, has written a blog piece about the Half Moon photography workshop's touring exhibitions. The blog begins: In 1976, the recently established Half Moon Photography Workshop developed an innovative new form of photography exhibition, with radical implications for the accessibility of alternative photographic work nationwide. Rather than framing and glazing prints, as had been standard practice, members of the workshop began assembling images and text on card panels which were then laminated in plastic and hung from eyelets...

Read the full piece here:

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12201206687?profile=originalThe latest issue of British Art Studies carries two papers of interest to photo-historians. As noted earlier Luke Gartlan's 'Inventing Provinciality: St Andrews and the Global Networks of Early Victorian Photography' which examines the advent of photography in the Scottish university town of St Andrews in the context of local ties to the British Empire.

The second paper is Margaret J. Schmitz's  'Capturing Futurity: The Artistic Exchange of Alvin Langdon Coburn and H. G. Wells'  which demonstrates that Coburn’s experimentation with radical aesthetics began before 1910 and was instigated by his friendship with English science fiction writer, Wells. 

Both are available free of charge here:

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12201206470?profile=originalThis new book examines the role of photography and visual culture in the emergence of ecological science between 1895 and 1939. It is about photography and the origins of ecology - about the practice of ecology as visual science. Picturing Ecology explores the contribution of visual experience and practice to scientific knowledge. It aims, in particular, to demonstrate the critical role played by photography in mediating and configuring new forms of knowledge emerging from ecology in the early twentieth century.

It concentrates mostly on the story of early British ecology, it recreates the field practices and social contexts of ecological science as a discipline carried out in excursions, public meetings, international gatherings and publications. Visual culture, and especially photography, is explored as central to all these discursive spaces. The study is underpinned by substantial research in a number of archives.

Picturing Ecology. Photography and the birth of a new science
Damian Hughes
Palgrave Macmillan
ISBN: 978-981-19-2515-3

£109.99 (hardcover) or £87.50 (epub)
Details here

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12201214087?profile=originalThe article "Inventing Provinciality: St Andrews and the Global Networks of Early Victorian Photography" is now available open access with the online journal British Art Studies. I've attached the direct link for interested members.

This is part of my current ongoing research on St Andrews and Fife family albums of Victorian Britain -- primarily in the 1840s for this article -- and their local, national, and international connections.

I hope this might interest some members, especially those with an interest in regional small-town and rural photographic archives and their histories.  


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1950s Kodachrome: Aldermaston Rally 1958

12201210283?profile=originalThis blog is to remind you not to throw out old photographs you may have lying around. About a year ago I was sorting through my old Kodachromes, especially those I took when backpacking in Europe in 1957/58.

They were taken on the original 35mm, 10 ASA (ISO) Kodachrome that was not only slow but also a bit contrasty.

The attached photograph is of the first Aldermaston Rally in Trafalgar Square on Easter Sunday 1958.   The rally preceded the march to Aldermaston. I had no particular reason to go to the rally and just happened to be there at the time.

I contacted the Museum of London who were interested in the image and asked me if I would send them an ink-jet print of it, which I did.

The Museum’s curator of photographs (Jilke Golbach) later said

"While our collection holds a substantial number of photographs depicting political gatherings and protests in the 1950s and 1960s they are without exception black-and-white.  It is unusual to see a colour photograph of this event, and this striking image — taken by a then 19-year-old Australian backpacker — will undoubtedly have an impact on contemporary museum visitors."



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12201200478?profile=originalUniversity of the Arts has published a blog post looking at the work being undertaken by Brigitte Lardinois and the Photography and Archive Research Centre (PARC) based at UAL on the Edward Reeves Archive in Lewis, East Sussex. This is home to the world’s oldest photographic studio — Edward Reeves Photography. Still active and operated by direct descendants of the founder, four generations of Reeves photographers have encapsulated the stories of the inhabitants of this English market town since its establishment in 1855. The current owner, Tom Reeves, now runs the Studio, still located on Lewes' High Street, with his wife Tania Osband. Together, they continue to add to its legacy.

Reda the full blog here:

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12201199281?profile=originalImpressions Gallery is hosting a seminar alongside its exhibition Invisible Britain: This separated Isle. Why does photography have a duty to ethically represent people from marginalised communities? How can photographs change stereotypical media narratives around class, and in particular working class identity? Is socially engaged photography the key to producing authentic and trustworthy visual representations of people and communities?

Join photographers Amara Eno, Ciara Leeming, Joanne Coates and filmmaker and curator Paul Sng for a lively and informative discussion. 

Invisible Britain: Photography & Representation
Saturday 8 October 2022, 1400-1530 (BST)
Tickets are ‘pay what you can afford,’ suggested donation of £3 or £5


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12201209865?profile=originalKatherine Howells at The National Archives has written a blog post on photography in India. She starts: In the second half of the 19th century, photography began to flourish in many areas of the world, including India. New photographic societies were established and amateur and professional photographers, both Indian and British, began to expand their activities and set up photographic studios.

With the 1862 Fine Arts Copyright Act, photographers and studios were able to secure copyright protection for their photographs in the United Kingdom. Photographers working in India took advantage of this opportunity, particularly when they intended to sell photographs abroad. The copyright records we hold at The National Archives therefore provide us with a small window into the photographic industries flourishing in India in the late 19th century and early 20th century.

Marking South Asian Heritage month, this blog explores how commercial photography took off in India in the 19th century and highlights photographers appearing in the copyright collection who were part of this story.

Read the full blog post here:

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12201207685?profile=originalA significant conservation project by the National Trust has saved around 16,000 photographic prints and negatives by renowned Liverpool photographer Edward Chambré Hardman and his wife Margaret, most of which have been hidden from public view for decades.

To mark World Photography Day on 19 August, the conservation charity has released images showing the extent of the work required to conserve some of the most at-risk items in the collection, which is the only known 20th-century collection where a photographer’s entire output has been preserved intact.

The collection spans five decades and includes subjects ranging from portraits of 1950s and 60s celebrities and Liverpool’s high society to British landscapes and iconic shots of post-war Liverpool, as well as business records and personal papers. Most of the collection is stored securely in the archives at Liverpool Record Office, who also own a portion of items belonging to the Hardmans.

Lindsey Sutton, archivist at the National Trust, said: “Edward Chambré Hardman rarely threw anything away, so the collection we have represents nearly the entirety of the life and work he and his wife Margaret built. The vast size of the collection, previous storage methods and a lack of resource in the past has meant much of it hasn’t had the attention it needed.”

12201207880?profile=originalAs part of the project, around 4,600 photographic prints, negatives and paper records have also been digitised to make them accessible to the public for the first time. The National Trust will publish these online later this year.

A further 5,000 photographs, negatives and paper records have also been catalogued. They will now be accessible to researchers and the public to explore either online or in-person by appointment at the Liverpool Record Office.

Lindsey Sutton, archivist at the National Trust, said: “The Hardmans’ photographs were made to be seen, not hidden away from view. One of the most important aims of this project has been to make them more accessible for the public to enjoy.”

Throughout the process of cataloguing and conserving items in the collection, the project team were able to undertake a more thorough survey of what and how much it contained. Previous estimates had put the size of the total collection at around 140,000 items, however the National Trust now believe this number to be much larger, and potentially double that amount.

The Hardmans' House will reopen for guided tours on Fridays and Saturdays, 9 September – 29 October 2022. Tickets will be available to book two weeks in advance from Thursday 1 September here:

Read the full blog post here:


Here is a link to an article about the work being carried out  by the National Trust on the Hardman Archive. 

Roger Mead

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Heritage Open Days / September 2022

12201199653?profile=originalHeritage Open Days taking place across British from 9-18 September 2022 include events relating to photography. The RPS is throwing open its building and holding a series of events around its own history;  Reading's role in the history of photography is explored, and Derby's W W Winter studio will be opening. 

Separately, the RPS is also running an Anthotype workshop on 17 September. Details here.

Take a look at these events and search for others here

The RPS events can be booked here

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12201213859?profile=originalAn enquirer is seeking information on the photographer Ted Reed, who did publicity stills for the 1955 Laurence Olivier film Richard III. Does anyone know anything about him or his studio? Two of his portraits from the 1940s are in the National Portrait Gallery collection.

Please respond here or message directly. 

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12201208472?profile=originalIt’s working as one team to deliver impressive projects. And it’s the satisfaction of presenting, and promoting, one of the world’s greatest and most diverse art collectionsThis is what makes working for Royal Collection Trust so different. 

In terms of both quality and diversity, our collection of photographs is breath-taking, with works dating from the 1840s to the present day. It's a 'living' collection, yet there are fascinating stories here that have lain untold for decades. Joining the team at the heart of uncovering these, you'll help to research and bring them alive – not just through inspiring exhibitions but also catalogues, presentations and displays.

Developing your own expertise, as well as the teams' knowledge, you'll also share your discoveries with a wider audience through presentation and interpretation. At the same time, you'll make sure the photograph collection has proper custodial control, and will edit and update existing online records, ensuring they are accessible and easy to navigate.

Drawing on expertise from teams across Royal Collection Trust, collaboration will be part of your daily routine and will be key to your success. But, above all, your passion for engaging people with history will help to preserve the photographic heritage of this unique collection.

You'll have experience cataloguing photographs, and a working knowledge of relevant cataloguing practices and the challenges of working with a historic collection. With an eye for detail and good command of relevant IT programs (including cultural heritage cataloguing systems), you'll be confident presenting works through online platforms. Familiar with early photographic technology, you also have an excellent understanding of the preservation and conservation issues that relate to photographic prints and negatives.  Being methodical with strong administration skills, you'll be able to plan and deliver large scale projects, self-motivated, you'll also be comfortable working independently to achieve consistently high standards. As an excellent communicator with a proactive approach, you'll enjoy collaborating with team members and colleagues who are specialists in their own field.

And, perhaps above all, you’re eager to immerse yourself in the unique learning opportunities that the collection presents.

Details and applications here

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12201213256?profile=originalIn a message to friends and colleagues Dr Catherine Troiano has announced that she has re-joined the V&A Museum, London, as Curator of Photography, with a focus on contemporary and digital practices. She was previously the National Trust's inaugural Curator, Photography. That role has been filled by Anna Sparham. 

She was at the V&A Museum as an assistant curator from 2015-2018 and then Curator, Photographs from September 2018.  She completed her PhD at De Montfort University's Photographic History Research Centre. 

Catherine's 2019 appointment at the Trust was announced here: in 2019. 

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12201212674?profile=originalThe Public Engagement Research Fellow will spend the equivalent of one month (can be worked flexibly) at Pennine Heritage conducting research into an area of our archives, which will then form the basis for a public engagement activity. Our archives have been under-studied in relation to the history of science, so the Fellow may be the first researcher to explore some of these collections. The Fellow will report to our Heritage Manager, who will provide training as required in archival research, object handling, exhibition production, digital content production, and schools programming. There is potential for research into several areas of our archives, including:

  • The national and global trade networks of local textile firms
  • How the textile industry has shaped the landscape of the Calder Valley
  • Pioneering local female photographers Alice Longstaff and Ada Westerman
  • Vernacular Architecture in the Calder Valley
  • Design and technology within the Birchcliffe Centre, the Grade II Listed former Baptist Chapel which Pennine Heritage owns and operates
  • Local nursing and healthcare provision in the 20th century

Research topics are not limited to this list, and we welcome applications which engage with other areas of our archives. If you are unsure whether our archives contain enough material for your proposed research topic, feel free to contact our Heritage Manager, Dr Francesca Elliott, at and she will be happy to discuss your proposed topic.

Once appointed, the Fellow will work with our Heritage Manager to create a more detailed research plan, and to decide which type of public engagement output will best fit their research topic. Public engagement outputs could include: school learning packs, school group activity, online exhibition, online educational resource, in-person exhibition, short film, walking tour.

Details here:

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