
About
HUGH TURVEY x-ray artist & xogram pioneer
Artistic and global brand collaborator
Multidisciplinary / Experimentalist / TechnologistWho is Hugh Turvey
Hugh Turvey ASIS HonFRPS FRSA x-ray artist since 1994 London
Bridging the gap between art and science, graphic design and pure photography and utilised in a myriad of collaborations, including, public art, commercial/marketing/advertising, design/publishers, TV/film, architects/interior designers. Hugh was awarded a Royal Photographic Society Honorary Fellowship in 2014 is the permanent artist in residence at the British Institute of Radiology since 2009. He became fellow of the Royal Society of Arts in 2016 after achievements in the management of public sector projects and volunteering expertise for the benefit of the community.
Director of two companies — Gustoimages Ltd. the commercial arm of the creative practice and OOHSCREEN Ltd delivering a digital platform for remotely curated, art in public spaces. Hugh has sat on advisory boards and is a creative consultant looking at how immersive arts experiences can improve patient experience in healthcare environments. He is also a confident public speaker, having experience of communicating with small groups, on TV, and to large audiences at science festival events.What influenced Hugh to use x-ray
Russian Constructivist concepts (Rodchenko: 'unusual architecture, rhythm, and plasticity') and the photographic studies by Dr Harold E Edgerton of 'seeing the unseen'. In my experience anyone who works within radiography has moments outside of the normal job remit and curiosity drives them to x-ray objects within easy reach: their shoe, their hand, their wife’s hand etc. This was certainly true for Röntgen (the first x-ray of his wife Anna Bertha’s hand) and it was the same for me. One of my earliest Xograms is of my wife Artemi’s leg produced in 1998 when she was 29. It is a beautiful hand-coloured x-ray image of her tibia, fibula, ossa tarsi, metatarsals and phalanges and titled ‘Femme Fatale’ … the allure of the stiletto and the visual insight to how the foot is indubitably contorted.
The comic fantasy of x-ray specs: The idea that by just wearing special glasses an ordinary person can reveal a hidden truth….this is just a fantastical idea. One of my favorite popular culture x-ray specs moments: This concept of revealing truth is one of the simplest structures in storytelling and for me simply exemplified in the 1999 film ‘The Matrix’ when Neo (Keanu Reeves) has his epiphany, perceives his true environment and its structure of the Matrix is revealed to him…it is a glorious moment of self-realisation giving birth to strength, understanding and purpose.
間 MA: The Japanese concept of Ma is something that relates to all aspects of life. It has been described as a pause in time, an interval or emptiness in space. Ma is the fundamental time and space life needs to grow. If we have no time, if our space is restricted, we cannot grow. How we spend our time and shape the space we live in directly impacts our progress. These principles are universal, when applied effectively they enhance the way we think and how we engage with our surroundings. – the space between the edges, between the beginning and the end, the space and time in which we experience life.
Ma is filled with nothing but energy and feeling. It speaks of silence as opposed to sound, of lack as opposed to excess. It is the momentary pause in speech needed to convey meaningful words, the silence between the notes that make the music…
插花 IKEBANA: space is an essential component and often the focal point of an arrangement. It is viewed as ‘invisible energy’ that gives life to the form. Space is carefully shaped by the placement of materials. Arrangements excel in forming a unique interplay between the two. When we observe Ikebana, we are encouraged to step back to appreciate the whole form. Only then do we notice the delicate interaction between all parts. In a time of increasing demands, requiring quick reactions, Ikebana reminds us to slow down, to fill our time and space, not with things but with meaning and purpose.What is an Xogram
Technique: Hands-on x-ray imagery made with large sheets of x-ray sensitive B/W film. Manipulation of technique: overexposure, multiple exposure, chemical processing, filtering, rigs, mechanics, physics, happy accidents, photography, trial and error and hand colouring...the pursuit of the aesthetic...I call these Xograms.
Why Xogram? There is a technique to produce a photographic image without a camera, by placing objects directly onto the surface of a photo-sensitive material and then exposing. These are called photograms (or as Man Ray called the Rayographs ) and coincidentally are also one of the first photographic imaging techniques ever used by William Fox Talbot (he called them photogenic drawings).
Simply put, the only difference between x-ray images and the photograms produced by the early photographic pioneers, is the frequency of the ‘light’ used to make the exposure. Unlike Röntgen (who called them Röntgenograms) I have created a more generic term Xogram to define my x-ray images within the context of my photographic background and the use of both 'visible' light and x-ray to create the images. Xogram (Greek έξω γραμ). See also ideogram and pictogram.How has Hugh promoted the x-ray aesthetic
Hugh promotes the aesthetic of x-ray and other modality derived imagery through public engagement which includes a bout of engagements at science festivals and lectures... and has a particular interest in education ( possibly influenced by coming from a family of teachers ) . An early influential engagement was giving the Christmas Lecture at University College London, with Sasha Moore, senior radiographer 2009.
'X is for X-ray' iOS app for kids, launched at RSNA (Radiological Society of North America) in Chicago 2010 in conjunction coauthors Mike Levad and Paul Rosenthal and backing from Touchpress publishers UK. The app pioneered the new technology to combine rotations of objects in both visible light and x-ray. With the swipe of a figure the viewer can change to between to the visible light and x-ray rotations which work in unison... this had never been seen before. See a review here from Teachers With Apps.
inr-i (inner eye) series of x-ray workshops at Yeovil District Hospital for the public, culminating in a publicly curated touring exhibition and permanent installations - Wellcome Trust funded.
TV appearance Blue Peter Interview and appearance on CBBC Blue Peter Series 57 - 4827. A huge audience reached via the BBC and included a viewer-vote on which image should be worked into an art piece. Awarded a Blue Peter badge by presenter Barney Harwood – a personal life achievement!RPS - International Images for Science Exhibition 2011/2012
RPS Fenton House Bath, King Edwards Independent School Bath, Bath Royal Literary & Scientific Institution, Palace of Westminster (House of Commons),
Edinburgh Science Festival ‘Making the Invisible Visible’ St Andrew’s Square,
Royal Albert Hall Kensington Gore London, FOTOSPACE (Fife Photo Group) Glenrothes
Scotland,2012-2017, Edinburgh International Science Festival, lecture/talks, exhibition and presentations.
Here is the event launch by the Society of Radiographers .
X-RAY VISIONARY 2014 lecture and THE ART OF MEDICAL IMAGING 2017 lecture - with Dr Michael R. Jackson
Working with British Institute of Radiology at UKRCO - Multidisciplinary scientific congress and technical exhibition [The UK Radiological Congress (UKRC) and UK Radiation Oncology Congress (UKRO)] - presenting UV crafting workshops to school pupils in-order to explain x-ray and the electromagnetic spectrum. Similar workshops were also presented at Cheltenham Science Festival with support from Seimens.Talks and competition judging with the RPS and BIR:
What art residencies has Hugh done
In 2009 Hugh Turvey was appointed the first resident artist for The British Institute of Radiology since its' inauguration in 1924 and Royal Charter in 1958 granted by Her Majesty the Queen. The residency was offered to Hugh following a solo exhibition at the OXO Gallery London Titled: 'X-perimentalist' which showcased for the first time 40 Xograms to over 8000 visitors. "As Artist in Residence, Hugh will continue to promote to the public the aesthetic of x-ray and other modality derived imagery through exhibitions, workshops, talks, BIR partnerships and fulfill objects of the Royal Charter".
Other residency: Hugh Turvey was artist-in-residence over a period of six months in the X-ray department at Yeovil District Hospital. The project aimed to engage the public by making a series of visual artworks with Radiology equipment. Hugh Turvey worked closely with Sasha Moore, Senior Radiographer, radiology consultants and the arts coordinator in developing ideas for workshops and artworks to improve the environment of the department. Staff and the public were involved in bringing interesting objects and revealing their structure or content by using x-rays with a qualified radiographer. The children particularly enjoyed the workshop process, seeing science being brought alive and learning with their parents seemed a mutually beneficial and fun experience. 95% of participants from the workshops said they would be interested in using the Radiology equipment again and had enjoyed the opportunity. 29 striking artworks were produced as a result of these workshops and are now on permanent display in the department. Patients rarely see their imagery since the advent of digital radiography so part of the work produced enabled a display of the different modalities to show patients that each area views the body in different ways. Learning outcomes were disseminated nationally through the British Institute of Radiology where the artist was in a parallel residency. This project was principally funded by the Wellcome Trust and supported by Yeovil District Hospital (YDH). BBC reviewWho has collaborated with Hugh
Pushing the technique inevitably leads to the creation of new outputs and interpretations - including:
Et Soudain, Tout Le Monde Me Manque Vertigo Films, French feature Film about a radiographer dissatisfied with monotony of the job, starts to x-ray random subjects including boyfriend, neighbors fridge, fish in a bowl etc for arts sake. This culminates with the x-ray art being recognised by a gallery and the protagonist becoming an exhibited artist. Our collaboration with the director and line producer led to the creation of all the x-ray for the film and final exhibition. The film feels very personal and autobiographical. (includes a cameo role in the x-ray exhibition scene in Paris)
Android Wear™ watches have become a digital canvas for visual art. Evolving from the Xogram work of artist Hugh Turvey, 'XOGRAM' is a unique watch face now available for Android wearables. It has been created in collaboration with B-Reel who has worked with Hugh on the creative approach and Android development.
Swami's collaboration with x-ray photographer Hugh Turvey (artist in residence at the British Institute of Radiology) "I've collected shells from all the beaches I've sat and surfed on over the years, to me they represent the fragility of the ocean and a celebration of the good times too. For me boards are always a combination of art, skill, shaping and finish. Surfing's unique, an art form in it's own right and that's always inspiring. Having worked with Bro and Paul (Phoenix Glassing) for 5 years we've made some fairly unique boards, you're in the hands of masters when you're with them" Swami's founder, Giles Dunn.
"Lyst has collaborated with British artist and photographer Hugh Turvey has X-rayed 7 of this year’s most hyped sneakers to reveal what lies beneath the seams. Turvey’s artwork is different to any kind of sneaker photography we’ve seen before, In the Behind the Seams: Sneakers, the internal structure of each sneaker is revealed, bringing to light the details that are often overlooked by consumers."
Birmingham Hippodrome + Birmingham City University’s Department of Radiography (part British Arts Council funded) Film celebrating an early pioneer of x-ray - collaboration between Award-winning contemporary dance and Hip-Hop performer/choreographer Mickael ‘Marso’ Riviere, sound artist Justin Wiggan’s sonic soundscapes and British Institute of Radiology artist in residence Hugh Turvey.Where is Hugh's work published
Coverage globally though publications, social media and outlets. Early note-worthy exposure: 4 April 1999 in The Observer Magazine, LIFE, UK and Sept 2000 in Muy Intersante - MuyInteresante.es. Innovación, Tecno, Ciencia, Cultura, Salud
Includes: Observer LIFE magazine, The Guardian, BBC Culture, The Sunday Times, Weekend FT, Scotsman, The Daily Telegraph, Disney Discover Magazine, National Geographic, Smithsonian, Washington Post, Observador Mondo, The Science Imaging Journal, Wellcome Trust Magazine, Synergy, iScience Magazine (Imperial College), Professional Photographer, Forbes, Elle, Royal Photographic Society Journal, Chicago Tribune, Metro Online, Metro Press, Flower Magazine USA, Auntminnie Europe, FastCompany, National Geographic Global,What commercial projects has Hugh been involved with
We work with many clients and can advise from initial concepts through to full production with deliverables for all manner of media and application. Most of our work is produced in and around London. We have a photographic studio and in-house post-prod facilities including 4K video creation/edit. We had a major break through in 1999 when commissioned by a Swiss Advertising agency adart.ch to create and produce 6 TV commercials for Credit Suisse. These adverts pioneered groundbreaking x-ray motion became award-winners at the ITVA Festival in Koln, Germany and helped launch a commercial career.
Includes: L’Oreal France, Boots and Heinz Europe, packaging Natura San Paulo Brazil, packaging for celebrity chef Heston Blumenthal’s Waitrose UK, flora x-ray prints throughout Maslow Hotel in Johannesburg South Africa, British Airways, Ford (Ridley Scott Associates), BBC, Channel4, Energy Saving Trust, Jansport, Simplyred, Cisco, Benetton, Condé Nast, Lever Fabergé, GSK, DK, Kellogg’s, Levi’s, M&S, Novartis, Roche, TRW Automotive, SEAT, VW, Unilever, Berghaus and Rohan, Discovery Channel, LVMH Moet Hennessy Louis Vuitton Paris, Kenzo,
Music projects are listed here, including Simply Red, Thunder, Chris Gould: www.allmusic.comWhy the special interest with healthcare
Hugh is passionate about the role of art in improving healthcare environments and has worked on large-scale art installation projects in hospitals in UK, Germany and USA. He is currently part of an award winning ‘communicative’ art research team that is creatively thinking about ways to improve patient experience, compliance, flow rates, orientation, empowerment, dialogue through the creation of ‘creative aid’ tools and environmental stimuli and installation.Always looking to the future, Hugh is currently piloting high definition screen art in public spaces. OOHSCREEN deliver digital exhibitions that can be curated remotely, also giving their hosts the option of custom designed digital messaging at each location, a great fit for healthcare environments, in particular.
Recently being awarded the Building better healthcare Awards 2018 for the 5 year project for Benenden Hospital Trust hospital-wins-top-award-for-best-new-build/ and hospital-creates-sensory-environment-with-high-tech-edge/
NHS TRUSTS projects include: University College Hospital - UCLH, Yeovil District Hospital, Poole Hospital NHS Foundation Trust, Bristol Royal Infirmary | University Hospitals Bristol NHS Foundation, Horton General Hospital - Oxford University Hospitals, Gloucestershire Hospitals NHS Foundation Trust
British Institute Of Radiology article/interview relating to arts in hospitals
FYI Salutogenesis, a term coined by Aaron Antonovsky, a professor of medical sociology. The term describes an approach focusing on factors that support human health and well-being, rather than on factors that cause disease. More specifically, the "salutogenic model" is concerned with the relationship between health, stress, and coping.Where has Hugh exhibited
2022 Nov Explore the limits of art and science at this new solo exhibition LIMINAL DISRUPTOR, Hugh Turvey presented for the first time in Sofia, Bulgaria. Exhibition @Ratio Forum and Doza Gallery.
2021 June - Aug, Hidden Garden @Summer Lights Festival, Crossrail Place Roof Garden, Canary Wharf, London, UK ( displayed in the Foster & Partners Crossrail Place Roof Garden)
Hidden Garden is an aesthetic scientific representation of flora and algae, using the medium of x-ray imaging to highlight the hidden architectural structures within the subjects. Commisssion by Keith Watson
2018 Chromaluxe Xograms represented and exhibited by Chappell Contemporary Gallery, UK.
2016/2017, ESRC ( Economic and Social Research Council funded) Remembering Baby Exhibition with Justin Wiggan, London Protein Gallery and Sheffield Bank Street Arts
Hugh Turvey, lead-artist for the Remembering Baby: Life, Loss and Post-mortem exhibition and advisory board member for the corresponding research project End Of or Start Of Life? Visual Technology and The Transformation of Traditional Post-Mortem, influenced by research from University of Sheffield’s Department of Sociological Studies.
exhibition website and www.sands.org.uk interview.
2015/2016 International Year of Light - Touring exhibition organised by the Royal Photographic Society (RPS) with support from the Royal Astronomical Society (RAS) and the Science and Technology Facilities Council (STFC) ‘Light Works’ presents a journey through the electromagnetic spectrum from gamma rays to radio waves, showing how each kind of ‘light’ is used in our everyday lives through science, technology and medicine. Exhibition venues included: public display in the Burlington House Courtyard of the Royal Academy.
2015 1 April - 9May: X-ray Photography Hugh Turvey: Solo @ Dunbar TownHouse and Gallery. John Muir Celebrations, East Lothian Council, Dunbar SciFest
2014 EXPOSÉ: Material and Surface, solo exhibitions at:- Gallery@OXO, Southank, London
- Artopia, St Catherines Dock by Tower Bridge
- London Contemporary Art (LCA) galleries, Store Street, London
2011/2013 touring with Royal Photographic Society’s International Images for Science exhibitions.
2012 BELIEF: Exhibition at the progressive humanities-meets-medicine symposium Medicine Unboxed, Cheltenham.
2012 Trip the Light Fantastic: Exhibition at Cheltenham International Music Festival.
2010-2015 inr-i (inner eye) touring public exhibition created in 2010, Wellcome Trust funded…Featured at multiple UK science festivals and NHS Hospitals.
2010 Kinetica Art Fair, London.
2009 X-perimentalist: solo exhibition at the Gallery@OXO, London. BBC Persia interview Interviewer: Shahriar Siami2006 RD.02 Colville Place Gallery, Collab with Gary Haslam and Paul Boulding
1994 John Kobal Photographic Portrait Awards - National Portrait Gallery NPG - London. (now known as the Taylor Wessing Photographic Portrait Prize)What is the British Institute of Radiology
The X-ray Society
The British Institute of Radiology (BIR) is the oldest radiological society in the world. The origins of the BIR can be traced back to a first meeting held on 2 April 1897 to form "The X-ray Society".
The Röntgen Society
The first general meeting of the new society, now called "The Röntgen Society" in honour of Wilhelm Conrad Röntgen, was held on 3 June 1897. The formal Grand Inaugural Meeting was held at St Martin's Town Hall in London in November that same year and was less than two years after Röntgen had discovered the X-rays.
Silvanus P Thompson
Whilst the main impetus for the new society was from doctors, it is remarkable that the first President was the well known physicist, Silvanus P Thompson. The tradition of alternating scientific and medical Presidents goes right back to the beginning of the society.
The British Institute of Radiology incorporated with the Röntgen Society
The medical society "The British Association for the Advancement of Radiology and Physiotherapy" (BARP) was formed in 1917, becoming the British Institute of Radiology in 1924. In 1927 the British Institute of Radiology and the Röntgen Society amalgamated to become "The British Institute of Radiology incorporated with the Röntgen Society", a truly multidisciplinary society.
In 1958 Her Majesty the Queen granted a Royal Charter of Incorporation to the BIR, whose Objects included:
- To promote and encourage the study and practice of the art and science of radiology, radiobiology and the medical applications of nuclear science in all their aspects and the study of kindred sciences.
- To maintain and extend to the public advantage the usefulness of the work of the radiologist, radiobiologist, physicist, radiographer, and X-ray engineer in the field of medicine and in the expanding field of the industrial application of radioactive substances.
- To disseminate knowledge concerning all aspects of the science of radiology, radiobiology and the medical applications of nuclear science.
- To accept subscriptions and gifts of all kinds, whether absolute or conditional, and to undertake and administer trusts for purposes falling within the objects of the Institute.
The BIR became a registered charity in 1963. Its activities are shaped by its charter and byelaws.
Key dates and events of the BIR
- 1896 - first Radiological Journal published in London ‘The Archives of Clinical Skiagraphy’
- 1897 - the X-Ray Society formed in London by medical people; name changed to ‘The Rontgen Society’ open to both medical and non-medical people. The journal 'The Archives of Clinical Skiagraphy'e changed to ‘The Archives of the Rontgen Ray’; Archives of the Rontgen Society adopted as the Official Organ for the publication of the Transactions of the Society;
- 1904 - Association between Archives and the Rontgen Society terminated; Journal of the Rontgen Society started
- 1913 - The journal Journal of the Rontgen Society became the ‘The Archives of Radiology and Electrology
- 1917 - The British Association for the advancement of Radiology and Physiotherapy formed – purely medical body (B.A.R.P.)
- 1918 - The journal The Archives of Radiology and Electrology was adopted as the Official Organ of the B.A.R.P
- 1922 - Home of BIR acquired – 32 Welbeck Street, London, UK
- 1927- Amalgamation of the Rontgen Society and BIR – The British Institute of Radiology incorporated with the Rontgen Society; Society of Radiographers affiliated to BIR
- 1928 - The British Journal of Radiology Rontgen Society Section and The renamed British Journal of Radiology BIR section merged as The British Journal of Radiology
- 1958 - The Queen, Her Majesty the Queen granted a Royal Charter of Incorporation to the BIR
- 1982 - New home of BIR acquired - 36 Portland Place, London, UK
What is the Royal Photographic Society
'The interchange of thought and experience among Photographers'. 1853 and the founding of the Photographic Society
For any organisation to have been around for more than a century it must have met the needs of those it was designed to serve. The Royal Photographic Society is no different and its original aims of 'promoting the art and science of photography' are as relevant today as they were back when it was formed.
The Society has evolved as the interests and needs of its members have changed and, particularly, as photography itself has changed – not least since the mid-1980s. As The Society enters its 167th year it is an opportunity to look back to 1853 and how the Society was formed and what it achieved during its first year.
Origins
The Photographic Society, as The RPS was originally known, was not the first photographic society but it was the first to be formally organised to have been in continuous existence in the same form since its foundation. It took only a few years from the announcement of photography in 1839 for the first loose gathering of amateur photographers to come together.
The Edinburgh Calotype Club consisted of 'keen experimentalists' and was formed in 1843. Its dozen members met to look at calotypes, to discuss photographic art and to socialise. With such a small number of members, it had no need for rules or officers to run it. In London, the publisher Joseph Cundall, along with Robert Hunt, started the Calotype Society – later known as the Photographic Club - in 1847. This, again, was a gathering of around a dozen photographers or 'gentlemen amateurs' who met regularly to discuss their experiments in photography and to exchange photographs. Among its members were Frederick Scott Archer, Hugh Welch Diamond, Edward Kater and Sir William Newton who would later become founder members of the Photographic Society.
In mid-1852 the United Kingdom's first properly organised photographic society was formed in Leeds by J W Ramsden, who later become a Society member. The Leeds Photographic Society operated under properly constituted rules and as early as July 1852 it circulated the work of its members. In 1878 it became a section of the Leeds Field Naturalist Club and was re-established as an independent society in 1881.
Towards a London Photographic Society
By the late 1840s and early 1850s photography was beginning to move on technically from the daguerreotype and Henry Talbot's calotype processes. In March 1851 Frederick Scott Archer published in The Chemist details of his collodion process which represented a significant advance on the calotype. It used collodion on glass to carry the light-sensitive chemicals and although it would take further work to refine it for commercial use amateurs and commercial studios were able to use it freely as it was not protected by patent. Talbot claimed that his 1843 calotype patent applied to Archer's process but the courts eventually dismissed this in 1854.
This uncertainty held back photography's progress in the meantime. The Great Exhibition was also important. Opening on 1 May 1851 it brought together 700 exhibitors and over 6 million visitors by the time it closed on 15 October 1851. Photography was exhibited as both fine art and as a branch of science and over 700 photographs were shown as well as cameras, lenses and associated photographic apparatus. The Exhibition was important in raising awareness of photography as an art form and by late 1851, as Roger Taylor has noted, there was a campaign underway to establish a photographic society in London. A detailed prospectus held by the National Media Museum for a photographic society, possibly written by Roger Fenton, appears to date from January 1851-June 1852.
The main difficulty a new society faced was to convince Talbot to release members from any restriction imposed by his calotype patent. Robert Hunt met with Talbot but despite him amending the restrictions on practicing photography no agreement was reached. In April 1852 a committee planning for a London society published a 'Proposal for the formation of a Photographical Society' in the national press directly challenging Talbot over his right to limit photography by amateurs 'for their own amusement' and to bounce Talbot into relaxing his conditions. Talbot was understandably upset but he agreed to meet a group of five consisting of Frederick Berger, Roger Fenton, Peter Wickens Fry, Peter Le Neve Foster, Thomas Goodeve, Robert Hunt and Sir William Newton.
Reconciling Talbot's interpretation of the patent laws with those of the committee proved impossible and their efforts were adjourned indefinitely. Despite this setback discussions continued under the auspices of the Society of Arts with Sir Charles Eastlake, director of the National Gallery, and Lord Rosse, president of the Royal Society, taking the lead as official representatives of art and science in the UK. After two months an agreement with Talbot was reached. In a formal letter dated 30 July 1852 Talbot acknowledged the impact of the Great Exhibition as heralding a new era for photography and he presented his invention to the country. Later that year the Society of Arts held the first exhibition devoted to the art and science of photography. It opened on 22 December 1852 and was organised by Joseph Cundall and Philip Delamotte.
Nearly four hundred photographs were shown and such was its success it was extended to meet the public demand.
The inaugural meeting
Following the agreement with Talbot the committee that had attempted to form a photographic society earlier in 1852 was resurrected. It resolved to recommend the establishment of a photographic society and placed advertisements in newspapers announcing an inaugural meeting on Thursday, 20 January 1853 in the Great Rooms of the Society of Arts in John Street, Adelphi, London. The meeting was open to 'ladies and gentlemen interested in Photography' and this was the inaugural meeting of the Photographic Society. The chair was taken Sir Charles Eastlake, after Talbot had declined the presidency of the new society, with Roger Fenton acting as honorary secretary to the provisional committee.
Eastlake addressed the meeting and thanked Talbot for having 'thrown open his invention to the enterprise of men or science, of amateurs and artists'. Fenton read a report from the provisional committee which described the informal gatherings at members' houses, the impetus given by the Great Exhibition which had increased the number of photographers and the failed discussions with Talbot. The meeting then moved on to consider establishing a society to be called The Photographic Society.
Le Neve Foster, Dr Playfair and Dr Booth acting on behalf of the Council of the Society of Arts proposed that rather than setting up a new society photography might be better served by establishing a photographic committee under the Society of Arts which would provide funds and rooms. Those attending the meeting disagreed and the original proposal for a separate society was passed with only a few dissenters.
A Council was elected for the first year and the rules were agreed which allowed for a president, three vice presidents, a secretary, treasurer and nineteen other members forming a Council. Rule 9 stated that ladies would be eligible as members. Admission was set at one guinea (£1.05) with an annual subscription of one guinea. Life membership cost ten guineas. Meetings were to be held at the Society of Arts on the first Thursday in the month between November and June starting at 8pm. The rules also established a gallery at which members could exhibit pictures for sale from which the Society would take a 10 per cent commission.
THE FIRST YEAR
Meetings
The first proper meeting of the new Photographic Society was held on 3 February 1853 at which new members were elected, papers read and photographs 'chiefly of wood scenery, taken by Sir William J Newton were exhibited'. This was the basic structure of subsequent meetings. At the second, on 3 March, a letter was read from the Society of Arts asking for cooperation in forming a collection of photographs to circulate among 'the Literary and Scientific Institutions and Mechanics Institutions throughout the United Kingdom'. At the third, Mr Fry showed the first camera made in London and a 'chromatic Daguerreotype' by Mr Niépce. Sixty 'magnificent' Calotype views of Venice were not shown as time ran out.
The first annual general meeting was held on 2 February 1854 and a series of resolutions from Mr Rippingham revised the original rules so that the president and vice president could stand after holding office for one year and be re-elected. Retiring members of Council became eligible for re-election. More controversially a resolution proposing that future vacancies in the Council could not be held by any person practicing photography professionally with a view to profit or dealing in photographic materials or apparatus was passed after discussion. It was later rescinded.
Council
In addition to the monthly members' meetings Council met weekly. It was preoccupied by a number of issues over its first year. The first meeting of Council which took place on 27 January discussed the relationship between the Society and the Society of Arts. There was a feeling that the new Photographic Society needed to distance itself from the Society of Arts and a committee was established to find new premises. Various establishments including the Chemical Society and others in upper Regent Street were inspected and by May the Society finally settled on rooms from mid-Summer at the Botanical Society for one year at a rent of £15 p.a. In 1854 new rooms were taken at 21 Regent Street and the Society applied for rooms in the proposed new building on the site of Burlington House, London.
Administration
The administration of the society was also considered and Council agreed that a proper manner of keeping the minutes of the Council and of its Committees and other records was a necessity. Minute, voucher and correspondences books were authorised for purchase. On 31 March Council resolved to thank Mr Vignoles 'for his very valuable laborious and persevering exertions in effecting the organization of the Society and arranging all its business details and for his liberality in permitting Council to hold their weekly meetings at his Chambers'. A clerk was employed by the Society to copy meeting reports in the Society record books and in May Mr Williams was engaged as an assistant secretary at the rate of £30 p.a.
A register of members was also established and it was proposed to print a list of members and their addresses for distribution with the Journal. Membership recruitment was supported by placing advertisements in the two main London daily newspapers, The Times and the Morning Chronicle. On 10 March Council read letters from Captain Scott and Mr Dancer on the subject of appointing local representatives in different parts of the Kingdom. Fenton was ordered to consider and prepare a report on the subject.
General business was also reported to the Council. On 30 March 1854 letters were read from the Deputy Inspector General of Fortifications and the Hydrographer of the Admiralty asking for advice on the application of photography to military and naval purposes. On 19 May a letter from the Secretary of the Leeds Photographic Society was read proposing a 'junction', or joining, of the two societies. Council set up a sub-committee to consider the proposal which seems to have come to nothing. The Ipswich Philosophical Society asked to receive the Journal for free which was acceded to.
The Society was also the recipient of gifts. These included photographs from M Regnault, a photomicrograph of a caterpillar by Mr Pratz of Vienna, copies of the French journal La Lumière and a series of pictures taken in 1840 and 1841 by M Bayard.
Journal
The need to publish a journal had been defined as essential even before the Society was set up and Council appointed a publication committee at its 10 February meeting. Council resolved that 'a Journal be established for the dissemination among the members of this Society of the communications made at the Ordinary meetings and of information bearing upon the interests of the Photographic Art and that the Journal be published monthly'.
The committee was authorised 'to make the best and most economical arrangements with a respectable firm for the printing and publication of the Journal of the Society'. The committee resolved on 16 February to propose to Council that 'the proceedings of the Society ought to be published under the name of "The Journal of the Photographic Society" '. It also proposed that the Journal should appear promptly after each meeting and 1000 copies be printed of the first number so that free copies could be sent to all the Clubs of London and to scientific and literary institutions, thereafter 500 copies would be printed. The following week Messrs Taylor and Francis were appointed printers and publishers of the Journal. The first number of the Journal was ready by the 3 March.
Such was the demand for the Journal that a second edition of 800 copies of the first number was ordered and throughout the first year reprints and larger prints runs of the Journal were approved. By the end of 1853 it was 'ordered that the standing number of the Journal now printed be 4000 and that the back numbers as they may require printing be made up to 4000'. By May 1854 the print run was reduced to 2750 with the Journal stereotyped for future re-printing if required. Consideration was also given to publishing the Journal twice a month and this was agreed on 21 April. The same meeting also resolved that the Journal would be sent free of charge to Henry Talbot. In June Council considered complaints regarding 'the want of punctuality in the delivery of the publication' and it resolved to write to the publishers.
To produce the meeting reports a short-hand writer was employed although his services were discontinued in January 1854. Arthur Henfrey FRS was requested at the 10 March Council to edit the next two numbers of the Journal in return for £5. He was appointed editor from 1 May at a salary of £60 p.a. but only stayed in post for a short time.
Exhibitions
Exhibition of The Photographic Society, 1858 Courtesy: Victoria and Albert Museum, London Producing a Society Exhibition was also a key objective for the new Society. The Society of Arts had proposed that the Society cooperates with it in a plan for forming a collection of photography to be sent around the country for exhibition. Council agreed to support this and Mr Foster and Mr Fenton were set up as a committee to draw up an answer to the Society of Arts request.
The Society was keen to mount its own exhibition of photography in London but the difficulty of securing suitable premises continually delayed it. On 17 March the subject of rooms for an exhibition came up and the rooms of the Water Color [sic] Society were looked at but proved to be unsuitable. Eventually, on 2 June Council resolved that 'in consequence of it not being possible to obtain suitable Rooms, the Council have considered it advisable to postpone the exhibition of photographs to the latter part of the year'. Even this proved to be optimistic. Council increased the amount it was prepared to spend on rent from £20 to £30 and on 1 December Fenton was able to report that he had engaged the room of the Society of British Artists in Suffolk Street, Pall Mall, for an exhibition during January and February 1854 at a rent of £25 per month.
A committee was formed consisting of Fenton, Berger, Hunt, Rosling and Vignoles to manage it. Advertisements were placed in a range of papers and journals advertising the exhibition and it opened to the public on 4 January 1854. The previous day Queen Victoria and Prince Albert had been given a private tour by the President, Sir Charles Eastlake, and Fenton and they had bought several prints. In February Council agreed that the 'working classes' could be admitted in the evenings at a cost of 3d per person and that this was to be advertised in The Times until the exhibition's close at the end of February.
On 9 February 1854 a letter from the secretary of the Committee of the Dundee Photographic Exhibition was read and Council agreed to deliver photographs belonging to the Society for exhibition in Dundee. Many of the photographs sent north had been included in the Society exhibition.
Royal Patronage
At the Society's fifth ordinary meeting on 2 June Fenton read an extract from the 12 May Council minutes which noted the Council considered 'it is of the highest importance to the interests of the Photographic Society that H.M. the Queen and H.R.H. The Prince Albert should become patrons of the Society'. The President was asked to take action to secure it. On the afternoon of the 2nd the President received a letter from Mr C B Phipps at Buckingham Palace dated 30 May stating 'I am commanded to inform you that the Queen and Prince will willingly give their Patronage to the Photographic Society'.
This raised the question of whether the Society's name should be changed to reflect the Royal patronage. The Council minutes of 16 June recorded that 'the subject of the assumption of the title of "Royal Photographic Society" having been considered. Resolved that it is not expedient to take any further steps in that matter for the present'. The Society eventually became 'Royal' in 1894.
TO THE FUTURE
The Photographic Society had a busy first year. Council was preoccupied with ensuring that papers were ready for meetings and with setting up the administrative procedures of the new Society. Some of the rules regarding elections to Council were amended before its first year was over. The finances of the Society do not feature significantly in the Council minutes but the Journal report of the first annual meeting held on 2 February 1854 reported cash and assets at a healthy £406 17s.
Much like today, the Society was approached by other organisations as a point of contact for photographic advice. The need to publish a Journal and to produce an exhibition were the Society's two main concerns and were both successfully realised and successfully continue to the present day. The late receipt of the Journal and finding appropriate exhibition venues are problems still present.
The work undertaken by Fenton and the other members of the Photographic Society's Council in that first year did much to establish the Society on a sound long-term footing. Over the following years the Society had occasional financial or political crises which it successfully weathered. The aims of The Society and how it achieved these through its administration and membership have evolved and continue to do so as imaging changes. Despite this Fenton and the members of its first Council would surely recognise The Society today as the direct descendent of their Society.
Dr Michael Pritchard FRPS
Further reading
Most of the information for this article has come from The Society's Minutes of General Meetings 1853, and Minutes of Council 1853-1857 held on behalf of The Society by the National Media Museum, Bradford.
There is no full history of The Society but the following are useful:
John Hannavy (editor), Encyclopedia of Nineteenth-Century Photography, London: Routledge, 2008.
J Dudley Johnston, The Story of the RPS [1853-1869], London: The Royal Photographic Society, 1946.
Marian Kamlish, 'Claudet, Fenton and the Photographic Society', History of Photography, 26 (4), Winter 2002, pp. 296-306.
Grace Seiberling with Carolyn Bloore, Amateurs, Photography, and the mid-Victorian Imagination, London: Chicago University Press, 1986.
Roger Taylor, All the Mighty World. The Photographs of Roger Fenton, 1852-1860. London: Yale University Press, 2004.
Roger Taylor, Impressed by Light. British Photographs from Paper Negatives, 1840-1860, London: Yale University Press, 2007.
Roger Taylor, 'Claudet, Fenton and the Photographic Society', History of Photography, 27 (4), Winter 2003, pp. 386-388
What are X-Waves
Original 'X-Waves' term coined by Hugh Turvey and this text featured in the Oxo Gallery Exhibition 2014
X marks the spot. It takes complex interactions of light interference, reflection and diffraction to ‘focus’ X-ray. I focus this fantastical ‘light’ to illuminate the liminal shadow-spaces of the material world.
X denotes the unknown. I look for transparency in a smoke-and-mirrors world of spin and media manipulation. Where Man Ray’s Rayographs revealed an exterior shadow, my Xograms offer us both exterior and interior shadows, revealing a depth and density to the stuff of life that would otherwise remain hidden.
X for magnification. In focusing on the in-between, I make the everyday appear uncommon, creating transcendent images that gift us an extraordinary way of seeing and knowing. For the artist, the delicate tension remains how much light to let in. As one part of the image emerges another necessarily fades. Like night moving into day it is this point of transference that intrigues.
X proffers a kiss. An antidote to popular culture’s obsession with the superficial, my meticulously crafted work is a celebration of his passion for the technology. The consummation of material and surface sings of a love that is deep and substantial, a love that comes from within and without.Who discovered x-rays
X-rays have eluded mankind for a long time, since the only natural source of X-rays on earth stems from the decay of rare radioactive substances such as Uranium. The discovery of X-rays was an accident: On November 8, 1895 W.C. Röntgen, a professor at the University of Würzburg in Germany, had been experimenting with a cathode ray tube, similar in construction to a light bulb. After covering up the tube to shield the visible light emitted from it, he noticed that a fluorescent screen present in the room was glowing. He deduced correctly that he discovered a new, mysterious kind of radiation that was different from visible light. He worked feverishly for the next several weeks, mentioning his discovery to no one. Röntgen quickly realized that these rays could penetrate materials that are opaque to visible light and that photographic film could be used to detect their presence. Röntgen himself produced the first X-ray shadowgraphs of bones by simply placing an object in front of a sheet of photographic film and turning his cathode ray tube on.
On December 22 he took his wife to his laboratory, and made the famous photograph of the bones of her hand. He wrote up his findings, calling the new radiation X-rays and submitted his remarkable paper for publication on December 28. He sent out a few preprints, and the news spread like wildfire. His results were confirmed in dozens of laboratories within days. He was invited to show his results to the Emperor, which he did on January 13 1896. The discovery was reported in the February issue of the Scientific American, and on March 1 X-rays were used to locate bullets in soldiers injured in a battle in Ethiopia. Over the same calendar year over 1000 articles were devoted to X-rays.
The amazing power of X-rays to take internal images of the body to diagnose bone fractures and other medical conditions was quickly realized and the technology was spread quickly to hospitals and doctors. Röntgen received the first Nobel prize awarded.
YouTube - 1940 X Ray Physics Documentary By William D Coolidge
Visit the Röntgen Museum - https://roentgenmuseum.de ( I have a permanent digital exhibition here )Biography
Hugh Turvey trained as a designer / art director but on discovering photography he retrained under iconic photographer Gered Mankowitz. During 1996/1997 he started experimenting with x-ray/shadow photography after being asked to create an alternative ‘revealing’ image for an album cover. With the encouragement of the Science Photo Library he went on to produce an extensive series of coloured x-rays of everyday objects, which were first published on the 4 April 1999 in The Observer Magazine, LIFE, UK. In the same year Credit Suisse discovered Hughs' x-ray vision and commissioned 6 ground breaking ‘motion x-ray’ European TV commercials.
Origination:
a. Hugh Robert Turvey
b. Born 5/6/71 in Chippenham Wilts – West Country between Bath and Swindon. First Son of three children born to Patrica and Rod Turvey.
Heritage:
c. Patrica Turvey trained at the Bedford College Of Physical Education 1964-67. 1 year teaching at Overstone School Nr Northampton as Head of PE Dept. 2 Years St Christophers School Beckenham, Kent. 1970-77 Kington St Michael, Wilts and had 3 children. 1989-92 returned to teaching Royal School, Bath. 1992-99 part-time Sport Science Lecturer at Chippenham Technical College.
d. Patrica Turvey from 1969-79 played International Level Lacrose for Wales (WWLA)
e. Rodney Turvey 1963-68 Electronic and Electrical Engineering at City University, St. Johns St., London ( sandwich with working at Plessy, Ilford)2:2. 1969-80 Westinghouse, Chippenham, Wilts as Engineering Assistant-Export Sales Manager. 1981 Logica, Newman Street, London – salesman. 1983 Logica, Aberdeen – Section Manager. 1985 Logica, Henrietta House, London. 1987 Dowty Information Systems, Marshfield, Avon – System Director. 1988-92 Dowty – Managing Director. 1992 management buyout, Dowty becomes Dopra Systems Integrated – MD ( Note: Considers himself a Innovator and Business Developer – a problem solver )
f. 1994 Patrica and Rodney partner up and purchase Zapp Canopy Umbrellas, Stapleton Road, Bristol a small manufacturing company. 1999 Move to new premises in Westinghouse, Chippenham as Zapp Canopy Umbrellas Ltd. 2003 employing 6 permanent, 2 part-time and one agent in the Midlands.
Education:
93 - 94 University of Central Lancashire, Preston ( Blackpool Annex )Ba ( Hons ) Photography ( 2:1) + B.I.P.P. PQE ( Merited )
92 -93 Blackpool And The Fylde College, Lancashire
Higher National Diploma in Photography
90 -92 Royal Berkshire College Of Art And Design, Reading
Higher National Diploma in Graphic Design and Advertising
89 - 90 Swindon Art College, Wiltshire
National Diploma Foundation In Art and Design Studies
85 - 89 Monmouth School, Gwent, Wales
3 A'Levels Fine Art, English Literature, Pure and Applied Maths
2 A/S'Levels Personal and Business Finance and General Studies
9 O'Levels English Literature, English Language, History, Geography, Biology, Chemistry, Physics, Mathematics, Art
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