Phillip Prodger (born 16 October 1967) is a museum professional, curator, author, and art historian. He is the Senior Research Scholar at the Yale Center for British Art and formerly served as Head of Photographs at the National Portrait Gallery, London. Born in Margate, Kent, he currently resides outside of New Haven, Connecticut. Education Phillip Prodger received his bachelor's degree at Williams College in 1989 and his master's degree at Stanford University in 1995. In 2000, Prodger received his Ph.D. in history of art from University of Cambridge. He attended secondary school in Hong Kong at Hong Kong International School from 1982-1985. Career After a brief tenure as a lecturer at the Hong Kong Arts Centre, Prodger began his museum career at the Iris and B. Gerald Cantor Center for the Visual Arts at Stanford University in 1990. In 2001, he became the Assistant Curator of Prints, Drawings and Photographs at the Saint Louis Art Museum. He became the founding Curator of Photography at the Peabody Essex Museum in 2008 and was named Head of Photographs at the National Portrait Gallery, London in 2014. In 2017, Prodger was given the Rome Award from the Paul Mellon Centre and the British School at Rome. In 2013, he received a Focus Award for contributions to the appreciation and understanding of photography. In 2007, he was named the Lisette Model and Joseph G. Blum Fellow at the National Gallery of Canada. Research Prodger's primary area of expertise is in European and American art from the nineteenth century to the present. He has published extensively on topics in the history of photography and art/science interactions. Much of his work centers on the rise of photographic vision and its effect on modern logic systems. Prodger has devoted much research to the so-called ‘second invention’ of photography, when wet-plate collodion supplanted Daguerreian and paper negative technologies in the 1850s-70s. During this time, it became possible to record things occurring too rapidly to be seen with the naked eye. This is the central theme of three of Prodger's books—Time Stands Still (Oxford, 2003), which analyses the work of Eadweard Muybridge in relation to contemporaneous motion photography; Darwin’s Camera (Oxford, 2009), which examines Charles Darwin’s interest in recording facial expressions as they occur; and Victorian Giants (National Portrait Gallery, 2018), which connects the drive for instantaneity in pictures with the rise of art photography in Britain. Prodger coined