The Teaching Museum

Norfolk Museums Service Traineeship

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Women Leading The Field

Each month we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees. Today we see Jen Hooker, Business Development trainee at Norwich Castle.

The start of a new year is often the time to look ahead to what is coming up, break bad habits, make resolutions and initiate change (easier said than done). However, it only feels natural to begin this blog entry with a reflection of my time spent as the business development trainee in 2016 and to follow in the footsteps of my fellow trainee cohort who have all written beautifully about what our traineeship programme has exposed us to in terms of experience across the museum sector. Hence the picture of the horse below which you might wonder how it is relevant – we had the privilege of visiting the newly opened National Heritage Centre for Horseracing & Sporting Art in November as part of the 6th annual SHARE conference.


When I arrived on my first day back in April, there was an exciting sense of the unexpected – the journey that I was about to take and the doors of opportunity that it would open along the way. The one thing that I didn’t expect was the amount of responsibility and experience that would be gifted to myself over the next 12 months. Not a single day has gone by since starting my role where I haven’t left work thinking, ‘wow I love what I do’ and appreciate the role that museums play in educating and engaging audiences. Working in a museum beats my old office job any day, and having the chance to work in an environment that both opens up collections and displays exhibitions to people in Norfolk is something that I once dreamt of.

Speaking of exhibitions and what I really wanted to write my blog on is Olive Edis. For those of you who stil haven’t visited our Fishermen & Kings exhibition at Norwich Castle (tut), you’ve got until the 22nd January – naturally plugging and promoting exhibitions and events has been a key part of my job role over the last 9 months. There are many reasons why I wish to focus my blog on the incredible woman and it only seems right to talk about something that got me excited from day one when I heard that a photography exhibition was coming to Norwich Castle. If I was to say just one thing about the work of Olive Edis, it would be the following quote made by herself in the New York Evening World in 1920:

“I believe a photograph should represent truthfully the subject at his or her most attractive moment. I have never yet found a human being who did have such a moment”

For those familiar with her work, it can be argued that there is not one photograph that doesn’t show that ‘moment’ in the exhibition. A wonderfully curated exhibition that highlights and informs of the areas in which Olive succeeded so well; famous sitters, studio techniques, fisherfolk, influential women and the First World War. For those unfamiliar with who Olive was and what she photographed – much like myself before I met with Alistair (curator) and Liz (project assistant) to learn more – the quote offers a hook and teaser for what is to be expected and what is confirmed when you see her photographs.



Olive saw photography as a career and not a hobby and that is one of the things that I admire about her most. She knew that in order to make it, she would have to be focused and a modern business woman. Olive was gifted her first camera in 1900 by her cousin Caroline Murray and the early signs that she was going to succeed are evidenced by the fact that she won a gold medal for her colour photos that she entered into a Royal Photographic Society competition in 1913. A trailblazer who established a career in a traditionally male dominated field when it was unusual for women to even have a profession, she was at the centre of many important events in the early 20th century; including the Suffragette movement and World War One. Often one can talk of heroes or role models, and I hadn’t really considered myself to have a heroine, however I now realise that it was because I was yet to discover Olive Edis. Having studied photography at university, it is a practice that I have a specialist knowledge and passion for, and so discovering a woman who not only contributed in changing the attitudes towards photography as a career practice but also had such a talent and ability to capture the soul of a human being within a single frame presents no reason why she should not be a figure to look up to.


Even her self-portraits reflect her ability to capture her subject at ease – controlling the set-up but without being the intimidating artist. Perhaps it is most evident in her local fisherfolk images, where the phrase twinkle in the eye becomes true. Edis gave the fisherfolk their own identity, each has a name; Charlie Grice, Belcher Johnson and Latter Day Cox are just a few to name. Olive presents the fishermen of Cromer and Sheringham in the same way as the kings and royalty, a bold statement in which her style implies no distinction between status, wealth and education.

One thing that emerges from the work of Olive Edis, is how willing her subjects were to let her into their homes and environment to photograph. Even during the days of the First World War in which she risked her own safety by travelling to Europe to document the action on the front line.

2Her photographs of the hospitals and army auxillary camps present a feeling of her being welcomed in – allowed in to see the damage and wreckage that had been caused by the war. Where her photographs reflect the catastrophe caused by the war, Olive is very much a part of it; not a snooper, hiding behind the scenes trying to capture a snapshot, but the photographer documenting the war and of course she was the only official female war photographer. She even worked with a broken camera at the first canteen she visited, the gaping hole from the smashed focusing screen didn’t stop her photographing – a true testament to her self-confidence and ambition.


The power that a museum collection has to tell stories like that of Olive Edis’ is something that is truly amazing, especially knowing that the Fishermen & Kings exhibition will raise the profile of Olive Edis and see her name become more recognisable. Our collection holds over 2000 images made up of prints, glass plate negatives and auto chromes from Edis’ studios and having made these more accessible through digitisation, an exhibition, a publication, re-displays (Cromer Museum) and a travelling exhibition, it highlights the potential for audiences to be educated and inspired, at present and in the future. I will leave you with one departing thought in that I hope that our local lady, Olive Edis will be a heroine for others too and that her courage, motivation and talent will inspire us to give it our best shot at making it in the world, whether doing our dream job or not.


(Black & white print of Olive Edis by Cyril Nunn, 1953-4. This is the last photo of her taken before her death)






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Digitising 1960’s East Anglia at Time and Tide Museum

Each week we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees.  Today we see Miles, Curatorial Trainee at Time and Tide Museum.

A new project we’ve been embarking on at Time and Tide Museum is the cataloguing and digitising of the photographic collection of Gorleston photographer Brian Ollington.

Brian has been taking photographs professionally from 1963 and we are lucky enough to have a small part of his enormous collection of negatives in our archive.

The items we have focus on his early years in the 1960s. Not only are they shot in gorgeous black and white but they offer an insight into a world that has faded away. Featuring old products, shop fronts and parties, even the superficially mundane photographs are an amazing record of a how East Anglia once was, especially for anyone who loved the style of TV’s Mad Men. I was most struck by how on the street scenes there was never a single piece of litter on the ground.

Brian Ollington 4

However there are a whole host of issues that must be considered when digitising photographs. Firstly there must be a compromise between the quality of digital image created and the amount of time available to digitise them. I personally have leaned on the side of digitising them in relatively high quality, usually 600 – 800 dpi but having once had to wait 15 minutes for a single 1200 dpi image to scan and process, I do realise there is a limit to how high quality your images can feasibly be.

Brian Ollington 1

I am also very lucky to have Brian and his former assistant Robert on hand to help with identifying locations. However most important of all was their help in ensuring the brightness and contrast settings were attuned to get the best possible images. However again a compromise had to be reached, as we were digitising several negatives at once no one setting would be optimal for all of them so it was a matter of choosing the best.

With many more boxes to go I’m looking forward to what we can find next. I’ll be posting the best ones on our Twitter account- @timetidemuseum – so keep an eye out!

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COPE; Create Once, Publish Everywhere: An Introduction to Collections Management

Hi my name is Jacob and I am the Collections Management Trainee at NMS. I am a history graduate from the University of Kent and before I applied to the traineeship scheme I had very little knowledge of what really went on behind the scenes at a museum let alone what collections management entailed. Having worked for Norfolk Museums Service for 6 months I can say with confidence that collections management suits me to a T. Now that’s not to say that collections management is for everyone, some people keel over with boredom at the very mention of a Modes subset, but I believe working with our collections data is an important and excited area of the museum sector. I have developed a passion for making our records as accurate as possible, and then using this data in innovative ways, adding to the visitors experience. I also love problem solving and my role here at the museum requires so much of it, meaning no day is ever the same and I am always challenged.

GAP 015

Photography workshop with Orla, Curatorial Trainee, Eastern Area.

I was recently asked to produce a short introduction to collections management for the museum’s youth forum. The youth forum is a group of young adults interested in museums and regularly hold meeting and give talks at the castle. I started to make a mind map of all the things associated with collections management but quickly ran out of space! We are a support department to the whole organisation, from visitor services to the exhibitions team. However we cant do everything and so collections management and care should be at the forefront of everyone’s mind. Without proper management and care we wouldn’t have objects to display or anything to say about them. To make sure this doesn’t happen we support the staff by maintaining the collections database; Modes and by advising and training to anyone who uses it.


Website example

The new collections website available now at

That’s not to say that we don’t have our own projects. Since I arrived in January I have been helping deliver the new collections website. This has involved organising top objects from all of the curatorial departments and museums, supporting the capture of high quality object images, and cleaning the data to make sure the website is easy to navigate. When the website launches on 31st July we will have an well produced site which will cater for both the serious researcher and the “culture snacker”. At first visitors will be able to view our top objects organised into different themes but we will be updating the data set weekly until our whole collection is online.  The motto in our office is “create once, publish everywhere” meaning once we have excellent data we can use it in lots of different ways.

Photographing the Galleries for GAP

Capturing the decorative art gallery for Google.

But to do any publication of our data we first need accurate information of all our objects. Without wishing to air our dirty laundry we have there are some outstanding issues with our object records. Part of my position here has been to work with curators at two museums in Norwich in order to make sure all of the stored objects can be easily located. Museums are centres of study, we get enquiries into our collections every week. If we can’t find the object that the member of the public is looking for then we are failing in making the collections accessible. On a personal side working in the stores on an open box location audit has allowed me to get up close to the objects and has fed into my interest in social history. As part of the audit I have also been photographing the collection and adding these images to the records. Practice really has made perfect and since then I have supported a number of other trainees in their own digitisation projects.

Emily Jacob

Objects cleaning at Ancient House with Emily, Curatorial Trainee, Western Area.

I’ve really enjoyed the first half of the traineeship. I hope to update you with everything that happens in the next half. I will be working further in the stores at Strangers’ Hall and will have a very interesting partnership with Google to report back on. Please subscribe to the blog to get updates from me and all the other trainees.