The first week begins with a summary of the coming weeks, prior to delving into some highlights from photography’s past.

This session looks at photography’s history – from its inception to some of its major technical changes to how it became accepted as an art form worthy of exhibiting, publishing, and collecting in unprecedented and affordable ways. This includes looking at a range of genres and some of the key players across photography’s histories, including photographers Mohamed Bourouissa, Julia Margaret Cameron, Lee Miller, Zanele Muholi and Edward Weston.

Divided in two parts – in this session we look at different print types before going over some key tips for acquiring prints.

Week two introduces the most common print types, as well as a variety of cameras. We look at the difference between hand and digital prints and highlight the importance of viewing prints in person when acquiring them and what to look for. This includes an exclusive visit to the William Egglestonexhibition at The Photographers’ Gallery – a pioneer of colour photography – to look at some of his Dye Transfer prints and to understand their difference from a chromogenic print, for example.

The session is also a practical introduction to conservation, including the importance of framing and the terminology of condition reports. We discuss the meaning of 'vintage prints', the significance of rarity and provenance, and what to look for on a print: signature, stamp, etc. The section is peppered with anecdotes from clients and collectors. 

This session addresses some of the key players in primary and secondary markets for photography and reviews a range of significant collections.

In the third week we look at the evolution of markets for photography, and discuss the galleries, auction houses and art fairs that animate these. We also examine the role of art prizes and how emerging artists build their markets, before considering different approaches to acquiring prints and developing a collection that reflects individual interests, collecting goals, and budget.

The session includes a review some important collections – private and public – linked to their associated exhibitions and auctions. There is also glimpse at some recent institutional acquisitions and some of the major works owned by private collectors. Finally, we discuss recent themes and trends in collecting. 
 

In this final week at the gallery, we hear directly from someone who collects photography – including how their collection began and grew, to loaning work for exhibitions and to how their collection is stored and archived. There is an opportunity to ask questions and review information presented throughout the previous sessions.

Join Justine for an exclusive tour of Paris Photo and off-site visits to other venues as part of The Photographers’ Gallery’s Paris Photo programme. 

Limited places, with a detailed programme and booking link coming soon.