PHOTOGRAMS
AUSTRALIAN PHOTOGRAPHY
1899 - 1921
1899 PHOTOGRAMS
F. Radford, of Sydney, NSW, has produced quite a collection of pictures which show more of artistic feeling than almost anything we have seen from the Colonies. Two of them are reproduced on later pages, and will be found to stand well alongside many of the pictures by older workers, in other parts of the book. His "Mud Larks", regarded as a simple landscape, has much very charming quality and feeling, though the very hard line of the distant bank and the almost parallel line immediately behind the children would have been better for more distinct breaking up. The children, too, are a little unhappy in their poses: they detract rather than add to the interest of the scene, which principally lies about the middle distance and in the delightful silhouette of trees against the sky. If the foreground, so far as the top of the children's heads, be covered, it will easily be seen how much of the picture remains and how much it gains in value by such treatment. Though, probably, the reproduction will not give the effect so fully as the original, the atmosphere in this work is exceedingly good, and the way that the trees appear to stand clear of the sky, as well as well back from the foreground, is decidedly fine.
Hillemoa, a portrait of a native beauty, is treated with a good deal of simple dignity, though it suffers from the same fault as so much of the portrait work of the year, in having the outlines of the head gradually shade to black against a black background. Another series of pictures by Mr. Radford includes scenes from the life of sun-downers, and such titles as "While the billy boils" and "The Shepherd on the Wallaby", indicate their general nature. Throughout these, and also through the series of landscapes which are simply designated "Impressionist Photos", Mr. Radford shows capital rendering of sunlight and of sky, in fact, we have seen few better examples as regards the keeping of foreground and sky well in tone. In most of them, however, there is a considerable lack of luminosity in the shadows, so that the trees show, both in and under their branches, great masses of unrelieved black.
"MUD LARKS"
F. RADFORD
Sydney, NSW
PHOTOGRAMS 1899
"IMPRESSIONIST LANDSCAPE"
F. RADFORD
Sydney, NSW
PHOTOGRAMS 1899
Henry Winkelmann's collection this year shows the same careful technique and discriminating selection which have been previously commended in his work, but, although he is a conscientious worker, his pictures give no great evidence of real artistic ability. Of this year's collection perhaps the best is entitled "Returning Home" - two women and a child walking along a shingly sea beach with soft cliffs in the distance. The two women with their fish basket between them and the little child led by one, their backs to the spectator and their forms strongly lighted from the side, make a group of figures which are, on the whole, very attractive. Closer examination, however, shows that while the woman on the left has a certain suggestion of movement and sway to the body, and while the child might even be thought to be in motion, the woman on the right is a stiff, rigid, posed figure, and both women have their heels brought smartly together as if with the full determination to "keep quite still".
"RETURNING HOME"
HENRY WINKLEMANN
Auckland, New Zealand
PHOTOGRAMS 1899
"Winter Dawn is Grey", by Frank Denton, Wellington, New Zealand, seems to give such evidence of the seeing eye, that we hope it was a real piece of observation and not a mere snap shot. The old poetry of the sea which hangs round the "fighting Temeraire" and other grand old wooden walls, is ever less and less available for picture making, and one could easily imagine the painter of the spirit of the ironclad and the tramp steamer, being fascinated by such a scene as this, with its suggestion of old hulks resting in their latter days on a sea of calm, where breezes are ever gentle.
"WINTER DAWN IS GREY"
FRANK J. DENTON
Wellington, New Zealand
PHOTOGRAMS 1899
Ernest Gall, of Adelaide, is a distinctly modern professional photographer who has the advantage, from the picture-making point of view, of never having worked in a studio. His pictures this year are distinctly professional, and probably few of them would obtain admission to either the R.P.S. or the Salon, yet they are so interesting and so clever that we shall probably reproduce half-a-dozen or more of his portrait studies made in the shadow of a house, in an early issue of The Photogram. Of "At Home" work Mr. Gall shows many good examples perhaps one of the best is that reproduced below, where advantage has been taken of the home surroundings to make an attractive and unconventional group of three girls.
"AT HOME PORTRAIT"
ERNEST GALL
Adelaide, South Australia
PHOTOGRAMS 1899
1900 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By A.J. HILL GRIFFITHS Page 43
Editor of AUSTRALIAN PHOTOGRAPHIC JOURNAL
To properly review the condition and progress of Pictorial Photography in Australia is a task which, if not wholly impracticable, is exceedingly difficult, mainly because of the great distance between the capitals of the colonies, and perhaps, too, because of the conservative principles which to some extent exist in each colony. Another reason may arise from the fact that many workers set about making and finishing their season's pictures just at the time our report must be despatched for publication in Photograms, which reason is obvious, on account of being the most pleasant time of year. Hence what is here narrated must only be accepted as representing the best available work of Australia.
I beg to regard it permissible to relate that the year has been one of progress and profit for the profession in these parts. An increase of public favor is given to a select and scattered few who consistently endeavor to make portraiture an art study. I have also noted the success of those commercial view finders who offer to the public and tourists views of numerous beauty spots worked up to an extent of becoming pictures from a pictorial point without sacrifice of their local features and associations.
In New South Wales we have an indulgent land for photographers. No ungratified desire should exist; a broad field is open to every fancy and approximately near to Sydney. Whether one particularizes, for choice, a seascape or landscape, whether mountain, valley, hill or dale; whether ocean, river, stream or brook; bright, weird or peaceful; even, too, if one is desirous to pictorially represent the characteristics of aboriginal life, here is the place and opportunity supported by a beautiful climate. Nevertheless, the quote that "No man hath all he wants", applies to us as easily here as it does anywhere. To give 'scapes their proper harmony we want true clouds - good sky effects which visit us but rarely, and then, as one may surmise, not infrequently inopportune.
The preceding remarks are suggestive facts with regard to all the Australian colonies. The scale of give-and-take would not be worth analyzing. We can assuredly announce that every advantage offered is regarded and made use of, and that pictorial photography in Australia is decidedly progressing.
Every colony has its societies, every society does its best, whether the share be large or small, to establish the art.
An Inter-colonial Exhibition held under the auspices of the Photographic Society of New South Wales in October last, brought together a collection of 599 exhibits. They were not all art studies, they were not all good; but there was a splendid display of much fine work and a few very skilfully managed studies. A carbon entitled "The Smithy", by J.A. Higinbotham, New Zealand; "A Chestnut Grove in Autumn", J. Kauffmann, South Australia; "E'en Shades" (platino), J.S. Stening, New South Wales; "In a Flood of Silvery Moonlight", A.J. Relph, Victoria; "After the Storm", A.C. Clifford, New Zealand, and a landscape study by H.W. Mobsby, Queensland, were amongst the best representative pictures of the various colonies judged from the pictorial side. The Exhibition proved a great success, and has shed its ray of light for good in many quarters.
"THE FLOCK WERE BUSY AT THEIR FEED"
PHILLIP CARO
Sydney, NSW
PHOTOGRAMS 1900
"EVENING"
J.F. GILLESPIE
Melbourne, Victoria
PHOTOGRAMS 1900
The Working Men's College Photographic Club is a large concern in Melbourne which has on its high numerical roll several members who know how best to handle a pictorial subject. This society has at its head for teacher one of the foremost amongst photographic techniques in the world, L.W. Hart F.R.M.S., and the Exhibition held under the Club's direction in May was successful in bringing together a meritorious class of work from all parts. A seascape, "Roll on", by Mr. J.S. Stening, Sydney, deservingly received the award for best picture in the Exhibition, while Mr. J.F. Gillespie's (Melbourne) landscape, "Evening" (above), was distinct from a large number as a well composed subject full of tonality.
Casually reviewing some of the work outside photo societies which have come under my notice, I first note that of Mr. J. Brooks Thornley, Sydney, who has given marked attention and time to figure studies of the picture portrait class; an education of art is shown in his choice of subjects, composition and rendering of light. From his most recent work may be chosen "The Puritan", "Mischief", "The Lost Chord", "A Portrait", and an excellent composition entitled "At the End of the Book", which, with a capital figure study in a cosy corner of a lady's boudoir, leaves little or nothing to be desired.
Mr. Samuel Cocks, of the little coastal town of Kiama, has been occupying himself with sea and landscape work in platino. In production of the former he displays knowledge of the technical requirements necessary to give true perspective to distant ocean waves and bring in favorable contrast fine bold foregrounds. "Storm and Gleam" (below), "Stevenson's Last Rest", and "Nature's Mirror", are three meritable subjects.
"STORM AND GLEAM"
SAMUEL COCKS
Kiama, NSW
PHOTOGRAMS 1900
Mr. Fred Radford continues to work enthusiastically, aiming solely for the art pictorial side of photography and giving much of his time to making rather than taking pictures. Mr. Radford's work submitted for the Royal Photographic Society Exhibition will show how steadfastly he is achieving his purpose.
Mr. W.C. Fisher, who has recently entered the channel for developing the pictorial art of photography, has rendered one or two fine poetically inclined photograms. "Beside Still Waters" (below), "The Trysting Place", and "By the Creek" are very commendable pictures.
"BESIDE STILL WATERS"
W.C. FISHER
Sydney, NSW
PHOTOGRAMS 1900
In Melbourne, as elsewhere in the Colonies, the greater number of photographic pioneers have gradually drifted out of the professional circle, or have been superseded by younger and more energetic men who cope with the times and exert themselves to bring the standard of their work to an artistic level. Amongst those who sometimes turn aside from commercial work and give attention and practice to photograms, enabling them to find pleasurable interest in that which advances them in the ranks of artists, are Messrs. Charles Barnet, Humphrey, Barry, and Brewster. The former gentleman is an enthusiast in the finer processes of photography, and shines as well with a reflected light from his brother's work - Mr. Walter H. Barnet, now in London. Apart from portraiture, Messrs. Hardy and Sutcliffe show a versatility that speaks of many years experience. The larger portion of their work is of necessity more technical than pictorially artistic, and as I learn that specimens of their non-commercial pictures have already been submitted you, further comment is unnecessary.
Mr. J.W. Beattie, of Hobart, Tasmania, weighs his lot in a similar scale to the Melbourne gentleman just mentioned. He is one of those energetic viewfinders that produce a commercial view with much in it that is pictorially good, occasionally lending himself to an exhibition study deserving special mention.
Of the progressive amateurs located in picturesque Tasmania, I must mention Mr. F. Styant Browne and Mr. C. Gruncell. Some landscapes by the latter require only a little diffusion of the fuzzy type to bring them among the best. The Northern Tasmanian Camera Club is an active little body endeavoring with some success to advance the art, in which Mr. Styant Brown takes an active part.
South Australia and Queensland are alike alive to the interest of photography as an art. A very good society exists in Adelaide with a fair roll of members, whose work was represented by about twenty exhibits at the Inter-colonial Exhibition held in Sydney, Mr. Kauffmann's pictures claiming the best attention. From reports I learn that the Queensland Amateur Photographic Society has got into the right groove. Very little work from that direction has come under my notice, but of that which I have seen approaching the standard of Photograms, is the work of Mr. H.W. Mobsby already mentioned and F.C. Wills.
"PORTRAIT OF A GENTLEMAN"
R. PORTEOUS
Sydney, NSW
PHOTOGRAMS 1900
The following notes are not from Mr. Hill-Griffiths
Phillip Caro, of Sydney, submits half a dozen prints of which two or three are practically identical save for the pose of the head of one of the cows. These works have been very successful in some Australian exhibitions, and have sold well, probably because they have a certain sort of striking attractiveness. The least unsatisfactory of the series is reproduced (p. 44) and somewhat improved in the reproduction. In the original its tones are entirely wrong black trees without detail, such as never existed under such a sky, lights and shadows on the tree trunks with no suggestion of the source of light; sky and foreground quite out of harmony, and each competing for notice. Mr. Caro will do good work, but those who have indiscriminately praised and purchased his present landscapes have not done him the kindness they intended. Incidentally, the titling is slipshod, for cows are usually in a herd, not a flock; and even if the animals had been sheep it would not have been good English to say, "the flock were busy at their feed".
W.C. Fisher, Sydney, has a kindly outlook upon Nature and his work promises well. He must not be afraid of using a narrow-angle lens, or the trimming-knife. His most promising attempt, "The Trysting Place", has a girl well placed amidst rustic surroundings, but fails of success by reason of its hardness and scattered lights. "Beside Still Waters" (below) is a pleasing little landscape; not notable, but without very serious faults.
"BESIDE STILL WATERS"
W.C. FISHER
Sydney, NSW
PHOTOGRAMS 1900
J. Brooks Thornley submits four carbon prints of figure studies, "The Puritan", a fairly good, simple study of a well chosen head; "Mischief", a well arranged studio subject; "The Lost Chord", an ambitious attempt with a somewhat chromo-almanac result; and "The End of the Book", which has considerable pictorial value apart from the technically interesting fact that it is a bona fide lamplight picture, with no other illumination than that of the oil lamp which is shown, and that the exposure was no less than twenty-three minutes.
Storm and Gleam, by Samuel Cocks, Kiama, NSW, has caught much of the spirit of the break in the storm, and is a good wave-study. The sky is a trifle monotonous and unconvincing.
"STORM AND GLEAM"
SAMUEL COCKS
Kiama, NSW
PHOTOGRAMS 1900
"Evening at Mordialloc" (below) is an "eventide" that would have taken a good position a few years ago, before so many had been done. Its lines, on the whole, are good, and so is the sky; but the planes are not well separated. The middle distance is as near as the foreground, and even the sky does not satisfactorily fall back to its place. We have trimmed away about half the sky {say a quarter of the picture) with decided advantage, and we trust that Mr. J.F. Gillespie (Melbourne), the author, will pardon the liberty.
"EVENING"
J.F. GILLESPIE
Melbourne, Victoria
PHOTOGRAMS 1900
J.W. Beattie (Hobart, Tasmania) has added to his series of fine landscapes and views of historical and scientific interest, but shows nothing of pictorial advance beyond his known standard.
George Austin Brewster (Johnstone, O'Shannessy, & Co., Melbourne) is a portraitist of very great ability. His half dozen pictures are a notable contribution to the portraits of the year, and in addition to that reproduced in these pages, are a few which will be given in an early issue of The Photogram. Examples of Mr. Brewster's work will stand well beside the best of H. Walter Barnett, which is very high praise, even though it be a comparison of two men whose pictorial work has first been done in Melbourne. The Greuze-like head of a young girl, "Daughter of Colonel Lindsay Tulloch" (below), is a winsome study, well deserving special mention.
"DAUGHTER OF COLONEL LINDSAY TULLOCH"
GEORGE AUSTIN BREWSTER
Melbourne, Victoria
PHOTOGRAMS 1900
1904 PHOTOGRAMS
"A SUNNY AFTERNOON"
W. CHURCHILL FISHER
Sydney, NSW
PHOTOGRAMS 1904
1904 PHOTOGRAMS
NOTES FROM AUSTRALIA
By A.H. HILL GRIFFITHS
Editor of "The Australian Photographic Journal"
1903-1904: The progress and developments of photography in Australia during this period were undoubtedly fairly and fully indicated at the International Exhibition of the Photographic Society of New South Wales, held at Sydney in December 1903, and I may safely center the incidence of my remarks from the standard there demonstrated.
It was the best and most successful show yet held in the States, chiefly by reason of the artistic atmosphere which hovered over it and also by reason of the manner in which it was conducted.
The Governor, Sir Harry Rawson, K.C.B., opened the Exhibition, and it was held in the Galleries of the Royal Art Society of N.S.W. These two facts tend to intimate that those people who can best appreciate the art side of photography are lending it their support, and also that our brush artists are acknowledging its pictorial possibilities and attainments. The local press, too, were liberal and encouraging in their reports — due praise being tempered with criticism. From which it will be inferred that the interest already aroused in Australian photography continues.
SIR HARRY HOLDSWORTH RAWSON, GCB, GCMG
Born 5th November 1843 Walton-on-Hill, Lancashire, England
Died 3rd November 1910 London, England
GOVERNOR OF NEW SOUTH WALES
1902 - 27th May 1909
The works of David Blount principled the show, but the exhibits of several Australians compared very favorably with the best of them; those of Temple Stephens displaying a well developed artistic temperament, and others by W.C. Fisher, J. Kauffmann, F.A. Joyner, and E.C. Joshua, vying very closely. Others, again, were in close proximity. Judging from the collection of pictures at this Exhibition, to say whether the year has been a progressive one in the matter of the pictorial side of photography needs no question.
The Council had decided that selection by a Committee should be waived, and all work sent in found a place on the walls. This afforded a unique opportunity to observe what vein of thought the aggregate of our craftsmen seek to express in their work. This made the Exhibition particularly interesting, as it very decidedly reflected some of our national characteristics, and these, I think, might be borne out in our better work, and, too, should be kept in mind in viewing Australian pictures beside those of European workers.
A thought which emanated from the preceding observation is this: What might be the characteristics of Australian pictorial photography by reason of national temperament and environment? The subject, to my mind, is an exceedingly broad one, but a surface review of it may strike a responsive chord in workers in other parts.
First of all, I should mention that we are fast forming, if we have not already established, an Australian School and it is upon the question of “what might be”, or “what should be”, that my thought chiefly bears.
We have cried aloud to see the works of our betters over sea, and no one, I believe, has cried louder than myself. Whilst by no means relinquishing that desire, yet facing the possibility of having a pure Australian School, I am inclined to ask, “Is it altogether an unmixed blessing for us to have them, and what permanent influence would a collection of selected European Photograms have upon us? Might it not possibly take away the promise of a pure Australian School and taint it with something foreign in a twofold sense?”
Perusing the leading old-world magazines, it is easy to detect the influence of a national temperament. Some three or four years ago Hintontype characterized the English landscape pictures; the field of view of most of them suggested an old-time political cry, “three acres and a cow”. The example is, however, not altogether attachable to Horsley Hinton, but is a reflex of national temperament piped to the tune of “Beautiful little England”. It must not be thought that I am uttering a heresy against Mr. Hinton’s or British work; far from it, for I appreciate it keenly — but would an imitation of it help to build an Australian School? Is it not too conservative?
Turning to the American Schools — there are several — I see, perhaps, more hope of benefit from them. They are an open-minded people, a people of invention, a people willing to court new ideas. Individuality will tell with them, and although in both landscapes, seascapes and portraiture British work is, in my opinion, composed on better lines, I maintain that the art of pictorial photography practised in the United States will ultimately exhibit a larger proportion of individual expression than in any other country, merely because they are the most creative race.
The French School has its own peculiar characteristic, which I think Mr. Demachy has defined for me, when he wrote in Photograms of 1903, “The French are extremely sensitive to . . . . ” He might have stopped at “sensitive”.
German work, like the people, is made up of theory and would not be likely to arouse our own national instincts. And so one might go on, only to find, like a child, that what we want most is, after all, not best for us.
Now, as to an Australian School independent of copying from foreign sources, by what might or should it be characterized? I must come directly back to my observations at the aforementioned Exhibition. Light prevailed in most of the pictures, which gave a pleasing contrast to the sprinkling of English and other foreign work. Light, I think, should be the predominating element characterizing Australian Photograms. The sunlight of this land, according to my judgment, is distinctly different from the sunlight in other climes. It is exceedingly, I might say excessively, reflective, due no doubt to the crystalline atmosphere which prevails. These combined factors in the matter of landscape photography reveal a precision of detail somewhat less appreciated in the generality of modern Photograms than Nature here claims; and which, in the endeavor to obtain tone values or tone quality, has to be reckoned with.
"A RIVER BEND"
P. STARLING
Mudgee, NSW
PHOTOGRAMS 1904
"IN GLOOMY WINTER"
JAMES HORNBY
Ballarat, Victoria
PHOTOGRAMS 1904
The foliage of Australia is comparable in color to that of Southern Italy, there being few greens free from a golden-yellow tinge. Blues, yellows, and reds of various and striking shades are often very pronounced in our landscapes; in fact, so brilliant are these colors during the nine months of full sunshine that artists or laymen who have not sojourned with us might question their existence. The rocks and stones, too, especially along the coast, simply glisten with their almost wonderful variety of colors. Our mountains either stand bold and hard in outline against a clear blue sky, or are clothed in a mist, describable in color as an ultramarine mezzotint. The Australian by nature takes an expansive, broad, and liberal view of things. He does not have the same regard to details or sentiment as does the over-sea craftsman. He is ambitious, and his ambition looms speculatively upon large things. The Australian speaks of his land by thousands of acres and his sheep by hundreds of thousands. Hence we get a reason for the broadness of view given in his pictures, together with an abundance of light and a variety of color. Such, I maintain, are the characteristics by which a pure “Australian School” in pictorial photography might or should be known. The free, almost careless mannerisms, and the dashing spirit of Antipodeans should mark their work distinctly from that of English and Continental Schools. As a further descriptive comparison I would say that the more sonorous tones which are obtainable in the center of the piano best represent the harmony in English pictures. The inventive work of America might be found anywhere along the whole keyboard of the instrument, while Australia can only be represented at the extreme ends, and principally amongst the higher octaves.
A correspondent residing in an outlying township some hundreds of miles from the city — and who is of an artistic temperament — in reply to my question, “In what way does environment influence your artistic aims?” writes: “I matriculated in a milking yard, and graduated between the plough handles. From this you will understand that whatever artistic temperament I possess has been influenced by environment that is free, clear, and decisive. On that account the "fuzzytypist" and "impressionist" schools exercise little or no fascination for me. Art has been described as nature seen through a temperament. When I try, per medium of (certain photo magazines) to inure myself to the art side of photography as represented by the reproduced work of "impressionists", I often think that art must be both nature and temperament obscured by a fad”.
Having said so much tending to advocate a pure Australian School, and suggesting some distinction from other national schools, it may appear strange that I should still again announce myself a staunch persistent advocate for the importation to Australia of a collection of Photograms by the leading old-world exhibitors. The closer students of music, painting, sculpture, etc., learn something from a study of other nations works without destroying their own individuality. So, too, may we obtain similar useful knowledge from a study of others Photograms, but not by having recourse to imitation, as is noticeably the case with some work which I have seen lately, and which was palpably after some imported works, but so much “after” as to merit practically nothing.
"A SEA OF SNOW"
SPURLING & SON
Tasmania
PHOTOGRAMS 1904
Now I trust, Mr. Editor, that I have not harped upon the one string too long, and thereby trespassed upon the space allowed me to record what has taken place respecting our topic “pictorial photography”.
The Photographic Society of New South Wales Exhibition was the means of an increase in the membership of the Society, which has almost doubled its numbers since my last notes to "Photograms". Most of the members are directing particular attention to the pictorial, and those who are not ambitious in this respect are happily in sympathy with their fellow members. Those few whose names I have mentioned in previous letters are still to the fore, and during the past year the names of W.E. Gates, F.W. Proctor, A.R. Wheeler, and Norman Deck have come into note. Next year will doubtless bring you some specimens from these new men.
The country clubs in N.S.W. are not pressing so enthusiastically as was the promise last year; their energies being roused when some agricultural show opens a section for photography, or upon the occasion of the local church bazaar.
As is the case in other States, the obscure worker is happened upon here and there, differing from the city man in that he cannot be persuaded to exhibit or even lend his work for criticism. Some Photograms by Mr. P. Starling, which I have submitted to you, might be held to be typical of the best country work (amongst amateurs), no individual specializing in any one direction.
"AN INTERESTING GAME"
HUGH A.B. MACKENZIE
Ballarat, Victoria
PHOTOGRAMS 1904
The South Australian Photographic Society Annual Exhibition was held in October 1903, and as a whole was a decided success. The exhibits, some 300 in number, were gathered from England, India, Cape Town, the Australian States, and New Zealand. The Society of Arts room proved eminently suitable, and was probably part reason for the large attendance of visitors which materially augmented the Society’s funds. As the pictures from this Society’s exhibition were sent en masse to the N.S.W. Exhibition, what is said of the one applies largely to the other. A marked feature was the almost entire absence of glossy prints, and the introduction of pictures in gum-bichromate. Carbon, platinotype and toned bromides found a fairly even proportion of workers, who sought to express their pictorial feelings through those means. The usual harmony of the last few monthly meetings of the S.A. Society has been marred by internal dissensions over exhibition matters. Some of the present officers are not enthusiastic in pictorial work, and chiefly on the score of economy, have decided not to hold an independent exhibition this year, but a scheme for joining in the exhibition of the Chamber of Manufactures has been submitted. This proposal has evoked a good deal of opposition, as it is thought possible that the Society’s section will be relegated to the level of a mere side show, that there will be a loss of prestige, and that the good work done in past years towards elevating the public taste will be undone. The controversy over this matter has brought to a head a proposal that has been in the air for some time, namely, the formation of an “Adelaide Fine Arts Club”, the main object of which will be “the encouragement and advancement of art”. The scope will include artists in painting, sculpture, designing and photography, and it is hoped that out of the present “evil day” may come a wealth of good.
The Malvern Camera Club have changed their name to the Adelaide Camera Club, and have taken premises in the city. Their step forward has not affected the parent Society, as they work on the same lines. The country clubs, Kapunda, Mount Gambier, and Port Pirie seem to be holding their own, though the pictorial side is not over represented.
Speaking of individual South Australian workers, Douglas Scott is one of the most promising of the younger ones. H. Ashworth, a most retiring worker, is keenly interested in the pictorial; his forte is printing in gum-bichromate. J. Kauffmann and F.A. Joyner I have already referred to, and others doing well are C.E. Rainsford, T.H. Stoward, A.H. Kingsborough, Mrs. Jay, who devotes all her attention to figure studies, and Miss Kingsborough, whose interest is in flowers.
The South Australian fraternity are still regretting that they have not yet seen the masterpieces of European photographers. In an interesting letter I have received from A.H. Kingsborough this regret is emphasized, with the remark that at a recent Capetown show a large and representative collection of English work was exhibited. Mr. Kingsborough adds: “Reiterate your previous requests to the Editor of Photograms". From every State I hear this cry.
Of workers in Victoria, Temple Stephens and E.C. Joshua, whom I have already mentioned, are possibly the most artistic, though A.J. Campbell approaches very closely to the same standard. J. Glover, A.G. Prebble, J. Davis, H. Serle, and A.J. Ralph are each showing very commendable work. Together these gentlemen have aroused an appreciable amount of enthusiasm in the Art side of Photography for the first time (?) in Victoria.
The parent Society in this State — Amateur Photographic Association of Victoria — has grasped the handle and is about to turn the wheel of real progress. Some few months past a number of its members, whose sympathies lie with the pictorial element, resigned from the Association, and with a few outsiders formed what is now the Melbourne Camera Club, having the higher and nobler aspiration in photography as their primary object. At the annual meeting — the twenty-first, by the way, of the former Association — a scheme of union with the Melbourne Camera Club was put forward. This proposition may be fact before these notes are published. Also at the same meeting it was announced that the time is now ripe for this Society to consider and arrange to hold an inter-State exhibition.
The Working Men’s College Camera Club, Victoria, of which A.J. Ralph is the energetic secretary, has gone ahead rapidly, having now a roll of over one hundred paying members. Their gatherings are enlivened by what are termed “Illustrated Lecturettes”, the titles of which do not convey an apparent connection with photography, yet the subject matter forms a medium for introducing in a pleasant way much useful information regarding the camera.
The Ballarat Camera Club, Victoria, has recently celebrated its first birthday by an Exhibition. It is noticeable that the object of this Club is the art side of photography, which is a pleasing variation of the rule in Victoria. Their newly appointed president, R. Radcliff, is a very enthusiastic pictorial worker, and it is chiefly this gentleman’s influence that has been responsible for the improvement shown in the work of this Society during the year.
Tasmania and Queensland have not revealed any fresh work of note. The local societies have shown progress in all their bearings. Several of them have contributed to the various Exhibitions held in the different States and have earned appreciation. The trend in the professional world has not been so elevating as one might desire or be led to expect. Although a small few of the photographers in each State have striven to raise the Art Standard, the greater number of the studios have persisted in offering their work at prices which belittle the dignity of the profession. (As a result the employees have recently taken steps to bring themselves under the Trades Union System). The foregoing fact is the more to be regretted, as the supply houses have done their best to uphold the profession, have maintained their prices, and in various ways are endeavoring to influence the art taste of the public. Besides this, the enameled and glossy print has given place to the more advanced processes, and the conventional mount has been superseded by a much superior article appealing to artistic tastes. And yet, as I have intimated, prices have come down, and the standard of work must inevitably follow.
"EVENING"
C.F. RAINSFORD
Adelaide, South Australia
PHOTOGRAMS 1904
L.W. Appleby, a courageous and versatile photographer, who but recently opened for himself in Sydney, has at this moment sprung upon us an Exhibition of some thirty or more portraits, mostly heads of well known local artists and musicians, treated in a broad and artist-like manner, which is simply a revelation to the photographic cult here. His posing, lighting and modeling are good; sometimes tonality is wanting, sometimes the known character of the person is not fully conceived, but every subject portrays the work of an artistic hand.
Herman C. Krutli has shown me some fine portraiture which stands quite apart from his regular commercial work. H. Charleston and A.F. Craven of Newcastle, S. Spurling, Tasmania, and Poul C. Poulsen, Brisbane, are striving for the higher ideal in portraiture, as are still those whose names have before figured in Photograms of the Year.
A proposal which is going the rounds of photographic circles, and meeting with approval, is that the leading societies of Australia affiliate and thereby strengthen their hands for the purpose of bringing European work to Australia, the intention being to hold an International Exhibition in the Easter week of 1905. This is the promise on which we are living for the coming year, and we build our hopes upon its influence in all directions for good to professional, amateur, and the general public.
1905 PHOTOGRAMS
"THE HOUR OF REST"
FRED RADFORD
Sydney, NSW.
PHOTOGRAMS 1905
1906 PHOTOGRAMS
NOTES FROM AUSTRALIA
By A.H. HILL GRIFFITHS
Editor of "The Australian Photographic Journal"
Two years have elapsed since my last notes to Photograms, and may I say that, in common with the rest of the fine arts, there is really nothing startling to report in respect to the progress of pictorial photography in Australia during that comparatively long interval. In fact, passing in review the work shown in 1903-4, and having in mind the abundance of promise then exhibited, I cannot fairly say (so far as the standard of work is concerned) that we have made any noticeable progress.
I have discussed this question with several of our prominent pictorialists, and in each instance the opinion expressed has been, that the interest in pictorial photography is waning. I hasten to assure the readers of these notes — as I did my friends — that this view of the situation is a mistaken one. This pause in the advancement of the standard is not necessarily attributable to any lack of interest in the work. Instead of viewing the matter in this light I am strongly inclined to regard it as a healthy sign. On every hand I see a greater number of persons devoting their efforts more to “picture making” instead of “picture taking” than ever before. The few perhaps do not stand out quite so conspicuously from the rest as they did in former years, which might give rise to the above notion. But the standard is comprehensive to most if not to all, and many are entering the field where before there were but a few. To me, the marking time means that the “art” is settling down — finding a solid ground, as it were — upon which an Australian school will be firmly established. With the progress of time we shall see pictorial photography in Australia forcing its way steadily along comprehensive lines. We have had glimpses of the various fads and fancies which have been introduced under the heading of “Pictorial Photography”, but fortunately no one has been persuaded to adopt them.
Just here I might interpolate a remark or two upon the craving we Australians had some years ago for a "spirit of leading" from the old world photo-artists, and the sad time of waiting we have since experienced, and the sadder realization of our anticipations. There is even an element of humor pervading the whole movement which, beginning with a desire to learn from our seniors in the craft, continuing in the affiliation of our Societies with the parent body, culminated in the recent receipt of foreign pictures which have taken years of travel to reach us. In effect the British Affiliation, after having made proposals which were heartily responded to by the Australian Societies, took no more interest in the matter and did not even acknowledge many communications, and finally threw the onus of their own negligence upon the Colonial Societies.
Certainly the purpose of the Affiliation has now been accomplished, namely to afford us a view of some of the work which has had a place upon the walls of the leading British exhibitions. But after what delay? A collection of pictures and lantern slides are now going the rounds of the Australian Societies. These I believe have been “on the march” for at least four years. Of the lantern slides I am not here called upon to speak, but they are good. Of the pictures — well, there may be a good deal to appreciate in them so far as the theoretical artistic attainments are concerned — but O, O deliver us from any desire to express ourselves in such gloomy sentiments. It would be false for us who live and revel in the glorious sunshine to pretend to appreciate a collection of nature scenes reproduced in such low tones. I have experienced a spell of poetic inspiration from a reproduction of Steichen’s Mud Pool, but to be asked to stand before a whole collection of works all pitched in approximately the same minor key, is sufficient, I think, for any person of normal temperament to call for “a change of air”. Here in Australia we cry “enough” if we have two successive days of rain or fog. How then can we find a charm in a grim succession of dun colored pictures effected in a gloomy atmosphere?
Plainly speaking, there is practically nothing to be learnt from our gaze into British pictures afforded by the Affiliation. We must needs follow along our own lonely track, if such it be, and for the present I think we cannot do better.
An observation which impresses me to a greater extent the more frequently I review it is, the growing tendency on the part of the Australian people as a whole to a due appreciation of art. Hitherto it was recognized as a matter of necessity for artists of the brush and of music to go abroad to find an outlet for their talents. To-day their inclinations are becoming more in favor of staying at home or of only visiting Europe for the purpose of greater experience, etc.; and returning to establish their profession amongst their own countrymen. It is very noticeable too that the class of pictures upon the walls of Australian homes shows a much stronger leaning towards art than in former years. Art exhibitions, classical concerts and the like are receiving greater encouragement from the masses than hitherto; in fact, everywhere one can see signs of advancing knowledge and interest in art productions. So pronounced is this tendency in fact that I venture to say that the not very distant future will show Australians to be a people as much devoted to, and doubtless as productive of art as any other community in the wide world. The absence of the much treasured "old masters" will not prove so great a loss as might have been anticipated. I would foretell the rising of a purely national school of art, founded upon our temperament and environment; a Ruskin the II., III. or IV. will discover this, he will pronounce it and the world will accept it.
OUR SOCIETIES
The last Photographic Exhibition of special importance was held in February, 1905, under the auspices of the Amateur Photographic Association of Victoria. The Exhibition was international in character and brought together a fine collection of work from “at home” and abroad. Somewhere in the region of 500 pictures were accommodated upon the walls of the Victorian Artists Society’s fine galleries. From an aesthetic standpoint many of the pictures might have found more suitable accommodation in the “Doubtful” or “Rejected” rooms, but on the whole the class of work was exceedingly good, and certainly the pictorial section surpassed all anticipations both as regards number of exhibits and standard. It is only within the last two or three years that this Society has shown any serious concern about pictorial photography, and it is chiefly due to the efforts of Messrs. E.C. Joshua and J. Temple Stephens that quite a large number of members are now directing their efforts to the nobler aim of the craft.
The Photographic Society of New South Wales has just announced an international exhibition for October of this year. Had this taken place earlier I might have safely drawn upon it for all relating to the present status of photography in this land. It is unfortunate for various reasons that this Society has allowed such a long lapse of time since its last international exhibition. There is a good esprit de corps amongst its members, but what is needed is more leisured men upon the council of the Society so that the affairs could be conducted with more consistency. The sympathy with picture making is strong, but only a comparatively few lay themselves out to achieve special merit in that direction. Doubtless the forthcoming Exhibition will bring to light some of the members who are now working in the dark. N.B. — The pun was not intentional.
The South Australian Photographic Society has been practically moribund for some time past. The meetings were poorly attended, and owing to the general lack of interest the committee found it practically impossible to carry on, and subsequently resigned. A new and strong team has taken office and a determined effort is to be made to restore the society to its old-time influence and position. Showing what interest the present committee purpose taking in regard to Pictorial Photography, I cannot do better than give a few extracts from their report, which was presented to the members of the Society at a recent meeting. “The object of the Society shall be: The advancement and encouragement of pictorial, scientific and technical photography”. “We believe that Photography as an end in itself, must necessarily die; but Photography as a means to an end must live and progress until it attains proportions of which now we hardly dare to dream”. ”The science and art of Photography are dependent the one upon the other. It is evident that the pictorial worker must possess some knowledge of the technical side of photography”. “It is the artist worker more than any other who needs to have the greatest technical knowledge and ability”. “For those whose tendencies are to the artistic side of things every effort will be made to encourage their endeavors and to lead them into true channels of success”. “Your committee intend promoting an international Exhibition of Photography for September, 1907, and intend inviting the co-operation of photographers throughout the world, and they will endeavor to arrange for a loan collection of pictures of master workers. Your committee recommend that in future exhibitions a rigid selection be instituted, only pictures of decided artistic, scientific or technical merit being admitted and hung. They aspire to make the admission of a picture itself an honor independent of any awards it may be expedient to offer, and they believe that if the works are selected by a careful and competent jury it will tend greatly to raise the status of our work in the community”.
The Working Men’s College Photographic Club, Melbourne, is doing more to aid its members in the technical branches of photography than any other club or society in Australia. Its aim, so far as the purely artistic side is concerned, is not particularly high, but several of the members show a strong leaning toward picture making, and they are exercising their efforts somewhat independently.
The Northern Tasmanian Camera Club displays a good deal of enthusiasm in its meetings and doings in general, but no fluctuation one way or the other has taken place with regard to picture work. The prominent workers of a few years ago still remain to the fore; and this remark may be equally applied to the Queensland Photographic Society.
Mention must be made of the Bendigo Photographic Society and Ballarat Photographic Society, in Victoria; the Railway and Tramway Camera Club and Broken Hill Societies in New South Wales; the Kapunda Camera Club, South Australia, and Mount Morgan Camera Club in Queensland. The societies are on much the same lines as those in the principal cities. Their annual exhibitions usually attract a good deal of outside attention and some of our best pictorial workers participate in some of the competitive classes.
The principal means of expression used in Australia just now, are carbon and toned-bromide; platinotype being not nearly so much in evidence as it was about two years ago. Gum-bichromate is creeping in, but so far as I have seen has nowhere gone beyond the experimental stage. In making that statement perhaps I ought to except the work of L.W. Appleby, who a few years ago devoted considerable time and study to gum-pictures, but within the past twelve months has been obliged to lay it aside in the better interests of his regular commercial work.
Amongst the professional portraitists more new studios have been opened probably than during any other similar period. This applies principally to the great cities; but to a smaller degree to the country also. Of course with only a slow growing population this has spelt intenser competition; but even here, now that prices are practically at bed-rock, quality must be the chief bid for success.
In the ranks of the amateurs the spreading movement is most apparent. The extension and enlargement of several of our wholesale establishments bears eloquent testimony to the truth of this remark. And out of the multitude of this production we can and do look hopefully for a gradual but sure advancement in the artistic side of our craft. That laudable spirit of emulation without which only a dead-level can be maintained, will surely cause those who are votaries of the camera to produce better work and many pupils in the nature of things ultimately produce a distinct school, shall we say, Australian in temperament, execution and design?
1907 PHOTOGRAMS
"CAN YOU SHOE THIS PAIR OF MINE"
F.J. DENTON
Australia
PHOTOGRAMS 1907
"THE EDGE OF THE MOOR"
F. STYANT BROWN
Australia
PHOTOGRAMS 1907
"DAD"
HERMANN C. KRUTLI
Australia
PHOTOGRAMS 1907
"THE BROW OF THE HILL"
J. KAUFFMANN
Australia
PHOTOGRAMS 1907
"THE MONTH OF JUNE"
FRED RADFORD
Australia
PHOTOGRAMS 1907
PHOTOGRAPHY IN AUSTRALIA
By EDWIN J. WELCH
Editor of "The Australian Photographic Review"
By way of introduction to a few condensed notes on photography in Australia, let me premise that there are few, if any, subjects here at the present time about which so little can be said that is at all new or prolific of material for enthusiasm. By which I do not desire to convey the impression that photography is dead, or even ailing, but merely taking its winter rest, the while its votaries are more or less apathetic to all else but football, politics, the choice of a site for the Commonwealth Capital, or the merits and demerits of the New Theology. But with the advent of spring (which is the British autumn) all this will be changed, and the ubiquitous Kodak will once more lead the revels. Not that it must of necessity be a Kodak, but merely because that persistent word has come to its acceptance in the public mind as a generic name for anything in the shape of a camera, from the lordly brass-mounted 12 x 10 outfit to the snapshooter’s unpretentious little “Catch-’em-alive-oh” magazine, which attracts attention by the rattle in its inside and the clatter of its optic in closing.
However, without any regard to the choice of weapons, there is unquestionably a great deal of good work being turned out here even at the present time both by amateurs and professionals. Among the latter are men ever on the alert for something new, and competent, as well as prepared, to take advantage of it. Some of the leading studios are making a specialty of working in sketchy artistic backgrounds to their portraits suitable to the sex and avocations of the sitter, and in most cases these meet with hearty approbation. Then we have, in at least two of the States, earnest students wrestling with the intricacies of the three color process, some in technical schools subsidized by the Government, and others qualifying for baldness or victory at their own expense.
That we have many men who are artists as well as photographers, both in the amateur and professional ranks, is evidenced by the excellence of the work they produce from time to time. But there is no distinctive school of Australian art, or, if there be, I have failed to become acquainted with it. The prevailing characteristic is “grooviness”, if I may be permitted to coin a word to fit the subject, although it seems more than likely that we are not the only sinners in that direction. Neither the British nor American photographic publications convey the impression that we possess a monopoly of it, but wherever it obtains there it must be recognized as a stubborn enemy to all progress. On behalf of the professional there is much to be said. He is limited by the walls and furniture of his studio, plus the fads and whims of his patrons, and he is bound by the rules of the only game which for the time being appeals to him. He has to pay his way and earn his living, whilst compelled to recognize the fact that there are, after all, only a certain small number of poses into which he may be allowed to twist or distort his sitters, and at the same time keep his business together. All the others are either uncomfortable, undignified, unfashionable or possibly even vulgar, according to the taste of the moment. And Fashion he must bow down to and worship, or the sign of some keen competitor soon appears in his neighborhood, and the business prospects of both settle down to a war of “cutting rates”, and a pitiful struggle as to which can hold out the longer.
That this is no fancy picture is proved by the advertising columns of the daily papers, which even yet carry the announcements in glaring type that two photographers in one of the States are offering “One dozen cabinets in the latest style of art, superbly mounted and finished, and one beautiful enlargement on bromide paper 18 x 22 inches, handsomely framed in a costly molding for the sum of 7s. 6d”.
The studios referred to are in the first flight, and I am constrained to acknowledge without any reservation that the work turned out at each place is really good. But oh ! the pity of it. How is it done, and can you get supplied with similar luxuries at similar prices in your little Island? I trust not.
Admitting then that the professional photographer in his studio is handicapped by his surroundings, what can be said of the amateur, who has all the outside world in which to disport himself, the while he is contributing so largely to the revenues of the camera builders and plate-makers who are his godfathers and godmothers? Nothing worse, perhaps, than that he is generally an enthusiast possessed of many of the virtues, frequently including some artistic ability, but more frequently devoid of purpose and sadly lacking in the one important qualification of originality. He is but too often a copyist of other men in his work, an absorbent medium of their ideas; so much so that if, say, a picture of a bush scene with the ruins of an old hut on the bank of a creek, some cows grazing in the foreground, and hills at the back, takes a prize or is commended by the critics for composition, lighting and general technical excellence, he straight away goes off for his camera and turns out photographs of huts, cows and distant hills by the dozen, but never a picture to compare with the original. And this is all the more to be regretted, because this land of his home, or birth as the case may be, is rich in scenic wealth beyond comparison. From the snow of the poles to the luxuriant growth of the tropics, all is within his reach, and as a matter of fact many of the most charming combinations of earth, sea, sky, plain and forest are within easy walking distance of his home in almost any part of the Commonwealth. Again, in the matter of finding titles for his pictures when he does get them, he is not always happy, rarely original, and seldom successful in making “the punishment fit the crime”.
In the matter of Camera clubs, societies, etc., all the States are wealthy, but, unfortunately, not quite all of these institutions are as prosperous as they ought to be. Those which are, and it is as unnecessary as it would be invidious to name them, have, as a rule, to thank an energetic secretary in the first instance, and the fact that their working members are not infected with the dry-rot of apathy in the second. In the cities and in some of the larger towns, the reasons for comparative failure are not far to seek. The budding photographer has too many more attractive ways of passing his time placed directly in front of him, and he weakens under the invitation to waste a couple of hours in listening to weary platitudes from a would be exponent of some process with which he probably believes himself to be already acquainted. In the suburban areas there is less to interfere with the tranquil flow of verbiage from the young gentleman who means well but has little knowledge to impart. Hence the outside clubs meet with more support, and presumably render better service, for the time being.
Lady Amateurs? Yes, plenty of them. All more or less lovely, and collectively charming, but extremely sensitive as to criticism and too much addicted to that essentially feminine virtue, a dislike to being praised. For which reason, and for that only, I presume, they carefully conceal their best attempts at picture making and exhibit only the failures, which are usually produced in company with a few hairpins, coppers, bits of string and some old tram-tickets, from the bottom of a distracting purse or a ravishing bag of medieval design. They seem to prefer the smaller size of Kodaks as being easier to carry, the shiny mechanism of which and the simplicity of exposure appeal strongly also to their gentle natures. To these recommendations may be added the charm of tank development when there is nothing better to do, or the still more exquisitely simple plan of handing the films to some other girl’s brother to get it done for them. There is only one lady professional running a studio of her own whom I have so far heard of, and she, I am informed, is fairly successful as an artist and even more so as an exponent of commercial enterprise. Which is quite in harmony with the eternal fitness of things.
Naturally, we can claim a contingent of adherents to the gum-bichromate process, many members of which are converts, or perverts (I am not quite satisfied as to the correct application of either term) to the influence of sundry British and foreign magazines, including, of course, The Photographic Monthly. They form but a small proportion of the whole, however, and give no immediate signs of an increase in their numbers, albeit there are some truly artistic and really excellent workers in their ranks, as illustrated by some of the specimens which I am very pleased to be able to send you. With regard to some of the best of these pictures, I take the liberty of believing that they can successfully challenge comparison with any produced on your side of the Line. For, whatever prejudice exists here against the work done by this process, the illustrations contained in some of the foreign magazines are almost entirely responsible. They are truly ghastly daubs of monotone which cannot even by courtesy be called pictures, and if, as is so frequently stated, their chief beauties are sacrificed in the effort to reproduce them, it would surely be better to omit them altogether and leave us something for the imagination to play on in the shape of verbal description.
By way of emphasizing my meaning I give you the gist of a conversation which actually took place recently at an up-country exhibition of Photograms, the speakers being a non-exhibiting committee man and a prize-taker in gum respectively:
“Well, old man, I congratulate you upon your success, but I’m hanged if I can make out how the judges came to that decision. Personally I don’t think that exhibit should have been admitted as a photogram at all”.
“Of course it’s a photogram. It was taken by the action of light through a lens on a sensitized plate. What else could it be?”
“Oh, yes, I know all about that, but you could have got a much better result without a lens at all, using only a pin-hole. It seems to me that you gum fellows are either a set of unconscious humorists, or else you are willfully blind to the injury you are doing to the practice of photography”.
“My dear fellow, you are a subject for pity and don’t know it. Look at the chiaroscuro in that picture, at the splendid balance of those masses of dark cumulus over the reflected western light. Look at the suggestiveness of that partially concealed path through the wood; look at ---”
“Yes, I’m looking, but all I can see is a confused mass of bluish-gray wool separated from a heap of dirtier-looking wool by a wisp of cotton wadding. Wasn’t it Emerson who said that Art was Nature seen through a temperament? I call that thing an out-of-focus splosh seen through a pound of butter”.
“Steady, old fellow, steady. That picture demands an entirely different view point to do it justice. You should stand further away and study it without the prejudice that makes for microscopic sharpness in every detail, such as the amateur prides himself upon”.
“Yes, I know exactly what you mean. The farther you get away from it the better it looks. Precisely. It’s one of those kind of pictures I admire most when it’s about six feet the other side of the vanishing point. Anyhow, you got the prize. Be happy. Good-night”.
“Good-night”. (Aside): “Ignorant ass”.
And that was the outcome of a really meritorious though small display of local talent purely photographic, but in connection with which the too frequent mistake was made of appointing an alleged artist who was not a photographer as one of the judges.
Unquestionably, photography in Australia owes much to the merchants and dealers who cater for its needs. It is a trite comment by tourists and travelers from the outside world that they have less difficulty in getting their wants supplied here than even in London. All lines are under the one roof. Cameras, lenses, plates, papers, etc., by all the leading manufacturers are stocked by most of the houses.
The above notes are offered at the shrine of "The Photograms" as generalities only and at their face value. If the writer has anywhere accidentally or clumsily touched a spot where the cuticle happens to be at all thin or frayed, he tenders his regrets but takes nothing back. He has himself been an amateur photographer for nearly forty years, and loves all amateurs as brothers. He knows them to be nearly all “jolly good fellows”, and is proud to call many of them friends, where for he adopts the privilege seldom granted and still more rarely appreciated, of making notes of what he believes to be their weak points as obstacles in the path of progress, in the hope that they may prove incentives to higher ambitions.
1914 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By WALTER BURKE FRPS
Editor of the "Australian Photo Review"
In writing notes of any kind dealing with an Australian subject it must be recollected that, although the population of the Commonwealth is but a little over four millions, these people are scattered over an island continent of very considerable size.
As a matter of fact, the whole of England could go into Australia no less than fifty-eight times and still leave something to spare. Three weeks are required for a Sydney correspondent to get a reply from Perth, the capital town of Western Australia. Melbourne is 582 miles, Brisbane 725 miles distant from Sydney, therefore my readers can understand how difficult it is for any one person, not visiting all the centers regularly, to say truthfully what progress pictorial photography is making.
Exhibitions are few and far between, if we except one-man shows, and the latter are not always entirely devoted to work that can be called pictorial. Frank Hurley, for instance, who was official photographer to Mawson's Antarctic Expedition, recently gave two fine shows in Sydney, one devoted to the East Indies, the other to pictures of the Antarctic. Technically these were magnificent, and the selection of subject all that could be desired, but I question whether many of the exhibits would measure up to the pictorial standard set by the editor of "Photograms of the Year".
For years past our amateurs generally have followed the lead of the workers of older countries, and many have endeavored to show Australian scenic subjects plunged in gloom. But our country is one of sunshine — the gray day is the exception — and to do justice to Australian scenery, workers must learn to make pictures in sunshine that will, when exhibited, show sunshine — really hot sunshine. Frequently, in parts, the summer temperature ranges about 100" in the shade - though, of course, up to 120° is not at all uncommon way back inland. The remarkable thing is that most of the time people revel in the hot sun. Developing and printing are not easy under such conditions, but our local manufacturers have produced plates and paper that will stand higher temperatures than the usual 60-65° called for in colder climates.
Of late, I believe, some of our workers are trying what they can do with sunshine effects, and they find it difficult. It will, however, be recollected that Coburn, some years ago, at Los Angeles, in California, made successful pictures of Australian eucalyptus trees in sunshine.
His rendering of the trees in sunshine, with a wind that sways the foliage and sets each little leaf shimmering with light, is exceptionally fine. Probably, if Coburn were here he would find no great difficulty, and the eucalyptus trees thrive in their millions and in a great many species.
Coburn, although most times a worker in low tones, understood and appreciated the eucalyptus, and his artistic instinct prompted him to treat the subject in the way he did. These trees live and thrive in a land of sunshine, yet they lend themselves to evening effects, especially when reflected in water, out back.
Now, many of the more ambitious among Australian pictorial photographers try what they can do on the lines of an Australian school, and in the attempt to record sunshine, feel that this is the line on which their efforts must be developed. Personally, I think the way out may be found in the use of panchromatic plates and one of the K screens, probably KI or KII. This combination will give the necessary brilliancy with softness in the rendering of detail. Possibly one of the new soft-focus lenses may be of service in this connection, though, in enlarging from a perfectly sharp negative the use of black chiffon apparently does all that the soft-focus lens will accomplish.
In the winter months we frequently have mists during the early mornings, but the sun soon dispels them, and the time at our disposal is so short that whatever work is intended must be done quickly. Our air is so wonderfully clear, that detail, even in far distant objects, becomes over-insistent. Coupled with this is the difficulty of separating the various planes, and any worker can fully realize that photography here is not quite so easy as it looks.
As a medium for pictorial expression amongst the Australians, bromide papers hold pride of place. J. Kauffmann, however, in a recent one-man show held in Melbourne and Sydney, exhibited some very fine carbons. As a general rule, however, except in the winter months, the reticulation of carbon gives trouble. Kauffmann's pictorial results, however, are of the highest order of excellence, both technically and in respect of their artistic view points. He easily ranks with Cazneaux and Deck as among the leaders of Australian pictorial photography. Neither of the last named pair have been doing fresh work lately.
Bromoil and oil printing have been patiently persevered with, but our warm atmospheric conditions prevent any real headway being made.
The photographic societies of Australia are in just about the same condition as in previous years, A few large exhibitions of pictorial photographs would doubtless give them the necessary push that is sadly needed throughout the Commonwealth.
The Photographic Society of New South Wales — which, it will be remembered, carried off the first award in the "Amateur Photographer's" Colonial Competition for three consecutive years — set a splendid task for the more advanced members in the shape of small one-man shows of their individual work during the year. In this way some eight or nine workers were forced to the front, and furnished shows that were a credit both to themselves and the society.
Amongst the professionals, solid work is being turned out day by day, mostly of the usual thing, but of exceptional technical /quality. The prosperity of the country generally has helped them to win success financially, and there are magnificent studios in every center throughout the states, all producing work that compares more than favorably with the specimens that reach us from the older countries.
"THE TOP OF THE SANDHILL"
J. TEMPLE STEPHENS
Australia
PHOTOGRAMS 1914
"THE CLOUD"
J. KAUFFMANN
Australia
PHOTOGRAMS 1914
"AN AUSTRALIAN LANDSCAPE"
J. WILLIAMS
Melbourne, Australia
PHOTOGRAMS 1914
1915 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By WALTER BURKE FRPS Editor of the "Australian Photo Review"
ANOTHER year has passed since I last wrote for "Photograms of the Year" — a year momentous in the history of the whole world, and even out here under the Southern Cross, far removed from the actual sphere directly affected by the War, photography has had to take a back seat. Strange to say, however, most of the professional photographers have had the best year financially in the history of the business here. This is due to the fact that every man who goes to the front desires to have photographs of his loved ones at home, and they, in their turn, equally wish to retain a good photograph of the one who has volunteered.
Hence the excellent business done, offset in some small degree by the increase in prices of photographic chemicals and other raw materials, quite unavoidable under the circumstances.
During the year there have been no exhibitions of any note, and the time has come when some special effort might be put forth. Probably the most consistent work is produced by the Melbourne Pictorial Photographic Workers Society, which has quite a small membership, but puts out sound work. It seems to me that the leading societies might join forces and arrange for a good show to be held in Sydney and Melbourne, the exhibitions immediately following one another. There is, perhaps, a certain amount of local jealousy of a kind which ought to be "squelched", and all should associate to produce a first-class event, one that would really help the younger workers and improve the position of Pictorial Photography in Australasia.
Norman C. Deck, who for several years past was not only a prolific producer of work of a very high standard, and a man who could always be depended upon to intelligently fill in an evening for any of the Sydney societies, last year decided to join his brother as a missionary in the Solomon Islands, and has practically given up photography, except so far as it will help him illustrate his society's reports, etc. He will certainly be missed in photographic circles.
Then, like the older countries, so many of our quite promising workers are now at the front; some have already been killed in action, and we regret their loss.
I have in previous years bemoaned the lack of pictures that were truly Australasian in character. I do not refer to reproductions of our characteristic scenery, of which thousands of negatives, more or less good, are made yearly, but subjects that show something local in character, something that could hardly be produced in another part of the world.
Most of the exhibitors merely slavishly follow the styles of leading English or American workers, as shown in the illustrated journals, notably "The Amateur Photographer" and "Photograms". Out of the thousands of prints that I handle every year in my editorial capacity, the vast majority might equally well, except perhaps for a little difference in the vegetation or surroundings, have originated in some other part of the world.
There is one man, however, a farmer, right away in the back country, where he is unable to get the direct help and advice of more experienced workers, who is making a real struggle to produce not only good photographs, but those racy of the soil. I refer to W.F. Baldwin, of Wallangra NSW, (See Plate LXXI).
"THE TAIL OF THE FLOCK" Plate LXXI
W.F. BALDWIN
New South Wales
PHOTOGRAMS 1915
Cartright, when in Australia, spent a lot of time making studies of our horse and bullock teams on dusty roads, and Cummins has done much work of a similar character.
Yet, I feel the lack of photographs which actually show our hot, sunshiny landscape as we know it for perhaps nine months in every year, longer in some parts. Cocks, I think, is the English worker who has exhibited "bits" of Morocco, or some such parts. That is the style of thing I have in mind, sunlight that fairly vibrates. There he had the advantage of old white buildings and natives in characteristic costumes: here, we have a drab landscape, the trees principally being of a great variety of greens, nearly all dark in shade, with trunks frequently quite light and patchy in tone. Get away from the bush and you have a khaki landscape, even the sheep get brown in color from the dust, and the only time they are white, as seen in the older countries, is immediately after they leave the shearing shed. This, of course, does not apply equally well to New Zealand, where the conditions are more of the style seen in England.
One day, some man with the time and the instinct is going to give us real Australian photographs, better than anything we have had. May he come soon !
I find that in a general way amateur photographers are taking more pains with their work, not only in selection of subject, but greater care is exercised in the choice of a printing paper, and what is equally important, the mount gets a great deal more attention than in the past. As a printing medium bromide paper holds pride of place, doubtless partly due to the fact that very excellent papers are made on the spot and they reach the user perfectly fresh.
Bromoils are seldom seen, and those I have viewed have not been conspicuously successful, the worker very often overdoing the "control". A few workers are trying enlarged negatives and printing in carbon, as this medium offers such a great range of colors and is so simple in use. In the warmer parts of Australia, however, carbon printing can only be successful during the winter months, all too short a season; but, of course, in the Southern parts and New Zealand it can successfully be worked all the year round, without risk of reticulation.
The check given to Pictorial Photography the world over will doubtless be felt for some years to come, and at the time of writing no man can say how long it will be before the study of the peaceful arts will have much of a place in the economic systems of the globe. It is a pity — the pity is, 'tis true.
"THE ORPHAN SISTERS"
By HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1915
"MAJESTIC GUMS"
By ALFRED WILKINSON
South Australia
PHOTOGRAMS 1915
"SUMMER LANDSCAPE"
By J. WILLIAMS
Melbourne, Victoria
PHOTOGRAMS 1915
1916 PHOTOGRAMS
"THE JAPANESE BLIND"
HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1916
"MELODY OF MORN"
W.S. WHITE
Sydney, NSW
PHOTOGRAMS 1916
"TIMBER COUNTRY IN MIST"
NORMAN C. DECK
Sydney, NSW
PHOTOGRAMS 1916
"THE POOL"
C.J. MERFIELD
Melbourne, Australia
PHOTOGRAMS 1916
1917 PHOTOGRAMS
"A MOUNTAIN SAW MILL"
W.S. WHITE
Sydney, NSW
PHOTOGRAMS 1917
"SOUVENIR, AUSTRALIA"
HAROLD CAZNEAUX
Sydney, NSW Australia
PHOTOGRAMS 1917
"AN AUSTRALIAN HOMESTEAD"
JAMES E. PATON
PHOTOGRAMS 1917
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By CECIL W. BOSTOCK
In these times of turmoil and strife, the art of the camera tends to subside in the presence of more important factors in the nation's welfare; for many of our photographers have joined the colors, and are now fighting side by side with their comrades of the Mother Country, and some, alas ! will return no more to the land of sunshine. But such is the fortune of war.
The shortage of finer materials also plays an important part. In Australia, fortunately, the grim aspect of this Armageddon is not so manifest as in the Mother Country, and photography still goes on apace, though not nearly to the extent as in pre-war days.
The Photographic Society of New South Wales held a general exhibition about the end of the year 1916—too late for mention in the last issue of Photograms — which proved quite a creditable showing, several new men coming to light in the pictorial section — notably E.F. Broad and J.E. Elliott, the former appearing to advantage in some fine steel-plate engraving effects typical of the Australian bush, the latter in some dainty high-key renderings of landscape, very delicate in tone.
In South Australia the Adelaide Camera Club, about the same time, held an exhibition, and at their invitation the New South Wales Society sent a collection over, one of the finest pictures being a low-toned landscape study by Harold Cazneaux, from a negative made there some years ago, when resident in Adelaide, his native town. The show was quite a success, and was highly commended by the Press of that State.
The Victorian Societies are still working more or less on the usual lines, though we of New South Wales have seen little of their doings, with the exception of the work of Messrs. Merfield and Coulson, who have produced some fine prints which made an interesting "two-man" show. There have also been a few minor exhibitions by some of the suburban clubs, both in New South Wales and elsewhere.
Latterly, owing to the unsettled conditions prevailing, the societies have become rather stagnant, and unfortunately, coupled with uncontrollable conditions regarding the despatch of goods overseas, Australia will not be well represented in England this season. However, the work is by no means dead, and there are still a few of those ardent workers who labor on for the love of the art. Even more than this, for out of the stagnation there comes to light a new society in New South Wales, the Sydney Camera Circle. It includes leading pictorial workers in the State, among others Harold Cazneaux, W.S. White, Malcolm Mackinnon, James Paton, E.N. Poole, Charles Wakeford, J.S. Stening, and C.W. Bostock.
The feeling had existed for some time that something more refined and progressive was wanted — something with higher ideals — which eventually led to the formation of the Circle. So, early last year, at the Little Studio in Phillip Street, Sydney, there met together a group of photographers, lovers of the art and zealous workers, with the object of forming an exclusive body, the aims being to improve and uplift in a practical way the pictorial side of camera work. Thus the Sydney Camera Circle became concrete. The standard of work is high, and the open hand of welcome to membership is extended to all who may qualify by merit of their work. There is no president, no office bearers, no fees. The meetings are Bohemian, and are held once a month. There is but one rule only, the condition of membership, and is such that each worker pledges himself to produce one picture during the month. At the meeting it is criticized, individually and collectively, and if of sufficient merit is accepted and stamped with the seal of the Circle, and becomes one of the portfolio. The progress has been all that could be desired, and the collection to-day comprises some excellent work. From month to month it is becoming more interesting, and if conditions permit it is the hope of the Circle that in the near future all those interested will have an opportunity of judging for themselves the merits of its members work.
We deeply regret the absence from our walls of the work of that poetic and energetic worker Norman C. Deck, who has taken up missionary work in the Solomon Islands, where conditions are hardly favorable to photography. The standard of work of the Australian societies generally is good, and it is expected, when conditions are again normal, to exceed the quality and artistic merit of former years by a big margin. It is also a pleasure to note that the pictorial workers are aiming more at the effects of mystery and sunshine — both so peculiar to the Australian bush — than in previous years, when the tendency to imitate the tone work of the Mother Country was far too prevalent. Ours is a land of heat and sunshine and freedom in the early hours of dawn, and at eventide a land of mystery. As such we should endeavor to depict it. There is yet a wealth of material here to work on — untouched. It is in the hands of the artists as to what the future will be.
1918 PHOTOGRAMS
"THE SHADOW CURTAIN"
W.S. WHITE
Sydney, NSW
PHOTOGRAMS 1918
"MEMORIAM"
JAMES E. PATON
Sydney, NSW
PHOTOGRAMS 1918
"THE SPHINX"
C.W. BOSTOCK
Sydney, NSW
PHOTOGRAMS 1918
"SUMMER TIME"
HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1918
"THE CLOUD"
ROBERT HOLCOMBE
Australia
PHOTOGRAMS 1918
1918 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN THE AIR
By Lieutenant Colonel J.T.C. MOORE-BRABAZON (ROYAL AIR FORCE)
The Royal Air Force, up to now, has devoted its attention to the rendering of what was of military value to the troops upon the ground, from the point of view of photography. It has supplied hundreds of thousands of photographs taken vertically from machines; and such has been the organization on the subject that very little effort is required on behalf of the pilot except to maneuver his machine over the spot it is desired to photograph, and to be there at a time when there is sufficient light to get a result.
The problems that have faced the Royal Air Force from the beginning have been quite different from what one anticipated. The purely mechanical and chemical processes have stood us in good stead from the beginning, and it is not in that subject that much advance, from the point of view of getting photographs from the air, has taken place.
The difficulties have been purely physical, and when it is remembered that we have to take pin-sharp photographs through quite thick mists sometimes, from a camera mounted on a very unstable framework, in which is mounted an engine of perhaps 300 h.p., added to which the whole mounting is traveling in the neighborhood of 100 miles per hour, it will be easily appreciated the conditions are far from normal.
It would take longer than the space allowed me in this article to tell of the troubles experienced at first, and of the apparently excellent photographs taken by hand-held cameras, which the Map Section would have nothing to do with, in that they were not "true".
An article describing the difficulties and troubles encountered would interest many, but is not within the scope of what is required in a volume devoted to pictorial work. "Control", which is such a necessary part and such an enjoyable part in all pictorial work, must be rigorously excluded from anything done for military purposes; and even in the joining up of a long line of photographs overlapping, the temptation just to blend one into the other must always be, and is always, resisted.
It is interesting to note how the camera, largely distrusted and despised at the beginning of the war, has finally, from the point of view of reconnaissance, almost displaced the human eye; and when it is realized that it is possible for one aeroplane with one camera to come back from an individual flight with photographs showing every detail in an area of over 100 square miles — as has often been done — the reason for the displacement of the human eye by the mechanical lens can readily be appreciated.
Many of our photographs that have been taken, not vertically, but obliquely, for military reasons—such as to give the contour of the ground to advancing troops etc. have, it is true, a very pleasing effect sometimes, even if they approach, in some cases, the picture postcard type. Some of these, taken during training in England, of our well-known cathedrals suffer a good deal from this; but, all the same, it must be remembered that they are interesting, in that a cathedral looks its very best from an aeroplane flying low down alongside it. Houses and gasworks which have been allowed to grow up too near them are overlooked, and they stand out in all their beauty.
At the recent exhibition at the Salon, we endeavored to show to the public for the first time that there were beauties in the heavens that should be seen to be appreciated, but which, owing to the war, have not been given the attention, from the pictorial point of view in photography, that they warrant. The two photographs shown at the Salon are a start towards a new branch of aerial photography — the pictorial branch; and with the ever-changing light and clouds seen from above, I hope that no pictorial exhibition in the future will be complete without some representative photographs in this new-found dimension, now that airmen are to have a little more leisure.
1919 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By HAROLD CAZNEAUX
LOOKING back over the past few years — years that have recorded deeds which will for ever leave their mark upon the pages of the world's history — one marvels that pictorial photography (one of the arts of peace) has during that time of turmoil made any progress in this or any other country.
It is, however, highly gratifying to record that many Australian workers have not only maintained their position during this world strife, but have made considerable progress in their art, and that no small incentive towards this progress has been the continued publication of Photograms of the Year.
Nor have we had our full array of workers towards this advancement. The war has claimed some who would undoubtedly have contributed to the progress had they been spared; but their glory liveth in fine deeds done on battlefields for the Great Cause. Amongst the most promising of our workers who have died for their country, I would pay special tribute to W. Fell, an Australian "out-back" man who, without the friendly help that could have been extended to him in the city centers, practically worked alone in the pursuit of his Art. He was killed on the fields of Palestine. Two other promising workers — quite young men — who have "gone west" are Butler Wood and Harris, both late members of the Photographic Society of New South Wales.
Frank Hurley, of whom we are justly proud, is back again with us, fresh from his work as official photographer to the A.I.F. Judging from an exhibition of some of his war pictures, recently held at the Salon of Kodak (Australasia), Ltd., in Sydney, one realizes that his sense of the pictorial has been the means of placing before us not "mere" records, but that which is far more impressive, the pictorial record—stirring the imagination and helping us to understand some of the great happenings "over there".
During the term of the war the only big exhibition of note held in Australia was one organized by the Photographic Society of New South Wales, and placed before the public in Sydney, in November, 1917. This exhibition was contributed to by all the leading workers of New South Wales, Victoria and South Australia, and I am constrained to record, with a certain feeling of pride, that it was acclaimed on all hands as the best exhibition of pictorial photography ever held in Australia. The Education Department's "Art Gallery" - a magnificent chamber set apart by the State for exhibitions and kindred purposes — was used on the occasion. The proceeds, which, owing to the generous support of the public, were quite substantial, were devoted to the funds of the Red Cross Society. Whilst appreciating the way the proceeds were applied, the public was not slow in showing its appreciation of the quality of the work upon the walls. Altogether some 279 works were hung from about 54 contributors. A fine catalog, containing a number of reproductions, was issued and highly appreciated.
Generally speaking, the work exhibited showed a broad outlook as regards originality, conception and execution, the old favorite fuzzy, low-toned print being replaced by truly Australian sunshine effects, denoting a healthy and sane outlook in respect of the typical conditions of Australia.
Of the work individually I cannot speak too highly. Amongst the New South Wales exhibitors one will remember such men as James E. Paton, W.S. White, C.E. Wakeford, E.N. Poole, R.G. Allman, Henri Mallard, M. Mackinnon, J.S. Stening, M. Appleby, A. Ford and C.W. Bostock. The last-named is one of those who answered the call of battle and is still absent on active service.
Victoria was represented by such well-known men as J. Temple Stephens and J. Kauffman (both excellent workers in bromoil), their work showing rare quality and finish, J. Williams, Rolloston, Wood, Merfield and Howieson.
South Australia's representatives were A. Wilkinson and P. H. Williams, both workers of distinctive merit.
It is regrettable that such exhibitions cannot be held at regular intervals. Present numbers are, however, far too small to bear the strain which frequency would impose. But an annual exhibition, or even an Australian Salon, is not undreamed of by local workers. One of the traits of the Australian is that of "hanging on" once the purpose is set, and so pictorial photography in the country will undoubtedly advance and eventually attain to a leading position in the order of things. The present outlook is indeed promising. There are photographic clubs established in all the various States, and although these are comparatively few and far between they are, in the majority of cases, making more or less steady progress, and new workers from their ranks are constantly coming into prominence.
The Photographic Society of New South Wales shows "push" in the recent formation of a Pictorial Section, to be specially devoted to the encouragement and advancement of new and promising workers. The Sydney Camera Circle has during the past twelve months maintained a high standard of work, and credit for the lively interest in pictorial photography in Sydney is largely due to the members of this Circle. Belonging to this body myself, I feel pardonably proud of the success that came our way at the London Salon of 1918, when work from four of its seven active members was accepted. Truly a good record for so small a Club. This Club is always open to workers of distinction and promising merit, and doubtless its membership will gradually increase.
Prominent in Victoria is the Pictorial Worker's Association, which keeps on the move, and as its ranks include many good workers, advancement should continue. Coulson, one of the leading members, was amongst those who represented Australia in the Great War. He has not yet, I understand, returned home. This State has a fair number of other clubs which appear to manifest a continued interest and give indication of progress.
South Australia is not so fortunate in the possession of many clubs, although the Adelaide Society has several good workers who are faithfully striving towards the expansion of the pictorial movement.
West Australia now has a Photographic Society which shows energetic action on the part of its leading members.
Of the other States of Queensland and Tasmania, one hears but little as regards pictorial photography, except that one Queensland worker — Peat Millar (of English reputation) — stands out rather prominently, and his work is often reproduced in our local photographic journals. Millar's influence should make itself felt in Queensland circles and tend to raise the standard in that State.
Very few ladies in Australia have taken up pictorial photography really seriously. Amongst the few, I must mention the names of Mrs. Alfred G. Milson, of Sydney, New South Wales, and Mrs. T. Harcourt and Mrs. Kelsey, of Melbourne, Victoria. All these ladies are taking a keen interest in the pictorial movement.
As to processes, bromide is still the favorite medium here with the majority of workers, and the locally produced papers can always be depended upon for freshness and scale of gradation. Carbon and Platinum are seldom used owing to the difficulty of procuring materials. Bromoil is confined to a few good exponents of this type of work, and J. Temple Stephens and J. Kauffmann, of Melbourne, and E.N. Poole and G.H. Wilson, of Sydney, keep the process alive.
As far as possibilities are concerned, Australia provides plenty of scope. We are blessed with a veritable land of sunshine, and I have already alluded to the greater extent to which the majority of our workers are making use of sunlight as the main theme of their pictures. But the blessing of our sunshine is not altogether unalloyed. The pictorial rendering of it is oft-times very difficult owing to the extreme clearness of atmosphere and absence of haze or mist. These difficulties are, however, being met and overcome, with the result that Australian work is becoming more and more distinctive and representative.
Each year that passes records more Australian exhibitors at the London Salon of Photography and a corresponding increase of reproductions of Australian pictures in Photograms. This, to my mind, is a truly promising indication that progress is being made here in Australia, and I have every confidence that the near future will reveal even better things.
In conclusion, I would again pay tribute to Photograms of the Year by recording the high appreciation it has amongst pictorial and other photographers throughout the Commonwealth. This publication can be looked upon as being in no small way a means to the encouragement of and incentive to pictorial work in Australia.
"THE ENCHANTED WOOD"
C.J. MERFIELD
Australia
PHOTOGRAMS 1919
"ON THE SEASHORE"
S.W. EUTROPE
Australia
PHOTOGRAMS 1919
"TO THE OPEN"
ARTHUR FORD
Sydney, NSW
PHOTOGRAMS 1919
"SYMPHONY"
JAMES E. PATON
Sydney, NSW
PHOTOGRAMS 1919
"YOUNG AUSTRALIA"
HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1919
"SOLITUDE"
W.S. WHITE
Sydney, NSW
PHOTOGRAMS 1919
"THE STOCKMAN"
C.E. WAKEFORD
Australia
PHOTOGRAMS 1919
"PEACE AFTER WAR — AND MEMORIES"
HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1920
1920 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By HAROLD CAZNEAUX
Whilst these lines were being penned for "Photograms of the Year" the battle cruiser "Renown", farewelled with Australian sunshine glinting on turret and gun, has left Sydney Heads on her way back to what the Australian soldier termed "Blighty", with H.R.H. The Prince of Wales on board. The tour of the Australian States has ended, and Australians will confess with unconcealed pride that their hearts have been won by the Prince in no small way. The Tour has ended, but not the remembrance of the happy frank smile of the Prince; nor the "something" that has tightened the subtle bond that has ever bound us with the Mother country, "The Empire".
Thousands of cameras have been busy during the Tour of the Prince, and photography has rewarded us with a veritable harvest of snaps of the events that have happened and in which the Prince has been the center of interest. The entry of the mighty "Renown" into the different ports of this Commonwealth has provided many excellent opportunities for the pictorial worker with the camera and no doubt, later on, some of the results will be seen in Pictorial Essay.
Regarding the outlook on Australian Pictorial photography during the past year one must be decidedly optimistic; to be pessimistic with the movement still so young in these lands would be fatal; everything depends upon encouragement and so the good work will go on. All the workers noted in my article of last year are still working and advancing. New workers are coming on, but unfortunately these are few. After all, the work has not gone backwards and what better can be said. "Optimism" dominates the future of the movement here in Australia.
Of exhibitions I regret to announce that none of any distinction have been held during the past year. There have been "One-man Shows" from time to time by members of photographic societies throughout the States, but a combined show of the best pictorial work has not yet seen the light.
The Sydney Camera Circle is making an effort to arrange an exhibition of Pictorial work on a high standard in the near future.
The Adelaide Chamber of Manufactures devoted a section of their "Peace Exhibition" to pictorial photography and other branches of the photographic arts and crafts. Apart from a liberal list of awards in the shape of medals, certificates, etc., and a substantial money award list supplemented by Kodak Ltd., no distinct note can be made of the exhibited work, with an exception here and there, and which, unfortunately, with a few exceptions, was far from representative of the best workers of the Commonwealth.
The West Australian Photographic Society, formed only a few years ago, shows marked advancement. They have the honor, I believe, of having their best workers efforts in Pictorial photography hung in the State Art Gallery in Perth. Evidently there are some broad-minded trustees in this state, fearless enough to reach out and proclaim Photography as one of the Arts. May others follow.
Our best workers are separated ofttimes by hundreds of miles and no doubt the necessary organization to combine and hold exhibitions is difficult. No doubt in time a scheme may be formulated to hold an exhibition once a year, the chief States arranging the exhibitions in turns and the show to go on tour throughout the societies of the different states. In this way almost each State would have the pleasure of having an annual exhibition of pictorial photography.
Of the workers out in the back blocks hundreds of miles away from city centers one can but bestow praise for their plugging determination to keep their work going, despite the little help that hardly ever comes their way. In the meanwhile, all Australian workers look keenly forward to the results of the Australian work sent to the "London Salon" and "Photograms of the Year". Therein lies some compensation for the long intervals for something of pictorial note here in this vast Commonwealth, Some day, deny us not the dreams, we may enjoy the blessings of an annual publication of Australian pictorial work and wherein we may welcome friends to whom we now send our best works for the passing year.
The Australian public is gradually becoming interested in the doings of the pictorial worker; isolated shows here and there in the different States always interest the "man in the street". His appreciation is becoming keener and more distinct, quite apart from his conception of photography as associated with bromide prints with a highly polished surface. Australians are keen amateur photographers, and in many exists the latent spark that may yet awaken the desire to understand and participate in the pictorial movement.
In conclusion I must add to my notes the problem we still find in dealing with our sunshine conditions. Brilliant hard clear atmosphere conditions ofttimes discourage the worker; the soft focus lens has not yet solved the problem of dealing with these conditions. The printing medium, to my mind, is still the nearest solution, combined with careful work on the glass side of the negative to overcome the depth and clearness of distant tones in our landscapes on typically Australian sunny days.
Typical Australian landscapes and typical life in the "great open" are hard for the majority of workers to obtain; a long trip "out back" brings one face to face with the real thing, but opportunities for these trips do not occur often for the city man, so the gum sapling in one's own back yard, so to speak, comes in for quite a lot of use and abuse for pictorial effort. One must be thankful, however, that gum saplings can grow close to city boundaries, but in the bustle of modern business extension trees are not often spared even to stand in a little corner where their beauty may preach a simple lesson in contentment.
"RETURN OF THE AUSTRALIAN LIGHT HORSE"
Mrs. ALFRED G. MILSON
Sydney, NSW
PHOTOGRAMS 1920
"ON THE EDGE AND BEYOND"
A. WILKINSON
Adelaide, South Australia
PHOTOGRAMS 1920
"MAKING READY"
CECIL W. BOSTOCK
Sydney, NSW
PHOTOGRAMS 1920
"THE BOUNDARY RIDER"
C.E. WAKEFORD
Sydney, NSW
PHOTOGRAMS 1920
1921 PHOTOGRAMS
PICTORIAL PHOTOGRAPHY IN AUSTRALIA
By HAROLD CAZNEAUX
With the great war over, Australians have settled down to a normal existence again. The streets have assumed their usual appearance, and the majority of the men who proudly marched along the same streets in uniform and to the strains of martial music not so many years ago are now passing to and fro in mufti. It seems strange that such a great war could have happened and passed away with such sad toll in the space of a few short years.
The pictorial element in photography is still energetic, and the "humdrum" existence that is with us again after the happenings referred to permits more attention to be called to its doings than hitherto.
The past year, pictorially speaking, has been a distinctly good one throughout the Commonwealth, and, whilst the exhibitions have been unfortunately few, the quantity and quality of the work produced by Australian workers has been of improved standard. A soundness of aim and individuality in pictorial photography is surely revealing itself, and one is seldom pained nowadays by the muddy low tone effects that were so familiar a few years ago in Australia. After the progress that has been made recently the fact reveals itself that the vogue of low tone work was no doubt due to influence or imitation. This has passed away, and our pictorial photography is becoming characteristically Australian.
Naturally, the two greatest States — New South Wales and Victoria — boasting cities about the fourth and sixth magnitude of the cities of the Empire, maintain the greatest number of our best workers; but South Australia, Queensland, West Australia and Tasmania, all contain workers who, though few, are turning out work of remarkably good standard.
The majority of the societies throughout the Commonwealth are in a more or less state of activity, and what work is produced by individual members as a whole is of a sounder and saner standard.
The most notable exhibition held during the year was by the Sydney Camera Circle. This was held at the Salon of Kodak Ltd., Sydney. A splendid showing was made of the work; public attention, not forgetting the sales, was all that could be desired.
Bromoil has become popular here in Australia. Victoria boasted the first little band that strove to conquer its difficulties during the past few years. Now many of the Sydney workers have been captivated by its possibilities, but bromide paper still continues to supply the bulk of the medium for pictorial printing amongst the majority of our workers.
Regarding the "School" aspect, there is evidence that there is possibility of workers, jealous of preserving the "typically Australian conditions" idea, neglecting the possibilities of other types of lighting, etc., that are possible here in Australia. There are days in this land of strong sunshine when atmospheric conditions change, and buildings, streets, waterway and bush become wrapped in a mantle of romance.
I have noted gray effects amongst the gum trees that have been truly wonderful in the passages of tender pearly light; the gum trees themselves with silvery trunk and branches shimmering through the mist, the whole effect suggestive of some beautiful silver gray nocturne.
Friend mist is very kind out here in Australia. No black fog kind is he, but a light veil of romance through which the strong sunshine is filtered like silver rays. As the day progresses these mists dispel and conditions become again the same — bright sunshine and strong shadows.
To deny oneself the temptation to use the camera whilst the curtain of mist is down for fear of offending oneself and perhaps others in respect to the great cause of "typical Australian conditions" is to debar a broad, sane outlook that will keep the pictorial movement alive with as much variety of subject and lighting as possible. After all, mists can be typically Australian in Australia as they can be "Londonesque" in London.
Photographers, let us be true to ourselves. So long as we faithfully try to preserve that outlook that is devoid of untruths, imitation, and lack of knowledge, there is no reason whatsoever that camera work should not reach higher levels in the world of art.
In conclusion I must note the seriousness with which many of our professional photographers regard their craft here in Australia nowadays. Many of the showcases exhibit a keen sense of the pictorial, portraiture especially showing great improvements with regard to simplicity, tone, and lighting. "Photograms of the Year" still holds, as it deserves, a high regard with our workers, who eagerly await its annual publication for the opportunity of reviewing for themselves the world's pictorial photographers efforts. Meanwhile we extend our hand in friendly regard for camera workers overseas.
"THE ENCHANTED WOOD"
JAMES E. PATON
Sydney, NSW
PHOTOGRAMS 1921
"AN OUTBACK AUSTRALIAN HOME"
S.W. EUTROPE
Sydney, NSW
PHOTOGRAMS 1921
"THE END OF THE VOYAGE"
E.W. GIBSON
Tasmania
PHOTOGRAMS 1921
"SURF CANOEING"
A. FORD
Sydney, NSW
PHOTOGRAMS 1921
"EN PASSANT"
C.W. BOSTOCK
Sydney, NSW
PHOTOGRAMS 1921
"A LEADING WIND"
MRS. ALFRED G. MILSON
Sydney, NSW
PHOTOGRAMS 1921
"BLUE GUMS"
HAROLD CAZNEAUX
Sydney, NSW
PHOTOGRAMS 1921