
Iain Logie Baird looks through our collection to find out what it can tell us about past predictions of the future of television, and what those predictions might mean now.
From the very first photographic images to the work of contemporary photographers, photography is one of our major areas of expertise and is represented throughout our collection.
Iain Logie Baird looks through our collection to find out what it can tell us about past predictions of the future of television, and what those predictions might mean now.
John Hinde was a pioneer of colour photography in Britain. Some of his work has just gone on display at the Photographers’ Gallery’s exhibition Mass Observation: This is Your Photo.
As we congratulate Chris Froome for his Tour de France win, Colin Harding investigates the surprising link between cycling and photography.
Colin recently visited Vienna to bring back photographs by Roger Fenton that we’d loaned to the Leopold Museum for their ‘Clouds: Fleeting Worlds’ exhibition.
This year is the bicentenary of the birth of Rejlander, the flamboyant and mysterious photographer who pioneered the painstaking technique of combination printing.
In our latest post about dating your old family photographs, Colin Harding shows you how to identify cartes de visite—an ubiquitous collectable in the 19th century.
As Tate Britain prepares to open a new exhibition of L.S. Lowry’s industrial landscapes, we look at scenes of northern urban life in our collection.
One of the most important figures in photographic publishing—we even named a research room after him in recognition of his contribution to photography and cinematography.
We may have been dealt a blow with the promise of rain this weekend here in Bradford, but there’s plenty of summer fun to be found in our collection.
Colin Harding takes a look at the life of one of the legendary figures of Fleet Street, who always came back with the picture his editor wanted.
In the late 19th century, subjects that seemed mundane to modern eyes exerted a peculiar fascination, such was the novelty of their being captured by the camera.
Colin Harding looks at the rise of commercial beach photography, and the shift from stiff, formal portraits, to the unposed holidaymaker by the sea.