The Sydney Camera Circle was formed on the 28th November 1916.

The founding group - Cecil Bostock, Harold Pierce Cazneaux, Malcolm McKinnon, James Paton, James Stening and William Stewart White.




Born 29th December 1864 Truro, South Australia
Died 29th November 1942 South Yarra, Melbourne


Tuesday 23rd December 1919  Page 5 - The West Australian (Perth, WA)

A collection of 80 pictures illustrative of pictorial photography, sent on loan to the The Western Australian Camera Club by the Photographic Society of New South Wales is now on view at the Public Art Gallery, by permission of the trustees. The suggestion to have an interchange of photographic work came several months ago from Mr. James E. Paton, Hon.Secretary of the Sydney Camera Circle, which is a club of pictorial workers drawn principally from the advanced workers of the Photographic Society of New South Wales. At the invitation of this society the The Western Australian Camera Club recently sent a collection of 24 pictures to Sydney. They were favorably received and in return the local society has now the opportunity of viewing some of the best work of New South Wales amateurs. Out of the 80 pictures, at least half stand out as being work of conspicuous merit and in some instances the whole five or six pictures of individual exhibitors can be classed as worthy of being shown in any exhibition of photographic work. This can well be said of the work of Messrs. H. Irons, C.E. Wakeford, R. Davies, W. Barrett, Harold Cazneaux, Henri Marie Joseph Mallard, J.E. Paton, E.N. Poole, W.S. White, M. Mackinnon and E. Lascron. Mr. Herbert iron's picture "The Stall in the Alley" is a conspicuously good piece of composition. It is a picture that tells a story at once. His portrait studies are probably the best in the exhibition, save only the portrait of a laughing girl by Mr. Harold Cazneaux. Several pictures by Mr. Wakeford have caught Australian bush and lighting most realistically.

"The Selector's Home" being a very fine example of high-key photography in bright sunlight not overpowered, by heavy harsh shadows, which Australian lighting conditions too frequently produce with the camera, "A June Morning" is a clever bit of control work in printing and "The Harvester" is a very pleasing bit of composition. To camera workers who experience difficulty in taking pictures with the light coming towards the lens, Mr. Ralph Davies's picture, "Fog's Mantle", is a revelation of what the camera can be made to do in practised hands. A delicate bit of photography in a high key is Mr. R.G. Allman's "The White Yacht" and an impression of Pitt-street is also very pleasingly rendered. Mr. Barrett's picture "In Old Vannes," is rich in tones and shows a fine sense of action. Mr. Harold Cazneaux's work is probably better known than that of any other amateur photographer in Australia and deservedly so, because it shows strength of purpose and boldness of design. All the pictures by this worker are worthy of the closest study. His "Child Portrait" and "The Japanese Blind" are two pictures that compel attention. Mr. Adam Grant's "The Witches Wood" and "St. Osyth" are two illustrations of good impressionism with a camera, a class of work, however which does not appeal to everyone. Mr. Henri Mallard's pictures entitled "Destruction", "The Open Gate" and "Wimbourne" almost convince one that the brush or the pencil is no longer necessary to produce a work of art. They are three beautiful pictures, admirably conceived and most artistically expressed. Mr. James E. Paton's "Memoriam" was one of the accepted pictures for the London Salon in 1918, where it attracted considerable attention and was spoken of as one of the best in the Australian group.

HENRI MALLARD  by Monte Luke, c1916

Mr. Paton's work certainly shows perfect technique and whether it finds expression in deep sombre tones, as in "Memoriam" or in the light, airy, high key in "Morning off Kirribilli Point" and "An Australian Homestead," the effect is good and the result convincing. Probably as a piece of composition "Symphony" is the best of Mr. Paton's efforts. Mr. Poole's work shows how charming results can be obtained from the control of tones and with one exception where the repetition of two figures is somewhat irritating, his work satisfies. His picture "The Castle", a group of children on the beach, is a well finished piece of photography in which composition, technique and tone all combine to give a well-nigh perfect result. Mr. White plays tricks with light and shade and all his pictures show evidence of this. Strong lighting on two tree trunks in his "Spectres" is weird. The brilliant effect secured in "The Barred Light" makes every photographer wonder how it was obtained. "A Mountain Saw Mill" could be placed among the best half-dozen pictures of the whole collection and his "Shadow Curtain" is a very happy conception in the treatment of light and shade. Mr. Mackinnon's "Summer Clouds" gives a more realistic rendering of cloud effect than any other picture in the show and convinces one that straight photography when handled by a consummate artist can be made quite convincing as well as pleasing in the highest degree. The pictures shown by Mr. Lascron all deal with strong lighting effects contrasted with deep shadows. Pictorially "Camp Fires" is among the best of his pictures and "The Monarch" is of particular interest to Western Australians as it deals with a theme which Mr. Van Raalte has cleverly handled in one of his best known etchings bearing the same title. The exhibition, which is well worth a visit will be open to the public on the usual days until December 31 and during the usual hours, 10am to 5.30pm except on Sundays, when the hours are from 2.30 to 5pm.




Friday 18th February 1921 Page 2 - Evening News (Sydney NSW)
Friday 18th February 1921 Page 8 - The Sydney Morning Herald (NSW)

It has been decided by the Sydney Camera Circle, in response to numerous requests, to extend the closing hour of the exhibition at the Kodak Salon today to 9 pm. The exhibition, which closes on February 28, has been successful and there have been many sales.

Saturday 26th February 1921 Page 12 - The Telegraph (Brisbane, Qld.)
Friday 4th March 1921 Page 7 - The Week (Brisbane, Qld.)

The third "art show" (though photographic art) deserves certainly a place among art exhibitions. This is an exhibition of pictorial photography by the Sydney Camera Circle at the Kodak Salon. Many of these pictures in their beautifully softened grey tones and half tones and sepias, look like engravings, etchings, or even pencil drawings.

Tuesday 1st March 1921 Page 22 - Harringtons Photographic Journal

In an exhibition of photographs opened on the 24th February at the Kodak Salon, George Street, Sydney, there are many examples of discerning selection of subject and artistic treatment in reproduction. The whole of the work is by members of the Sydney Camera Circle and includes quite a number of pictures that had been sent for exhibition to London. In pictorial photography the greatest success is achieved in the realm of repose - in capturing glimpses of city or countryside, revealing some of the more restful moments of the passing hour. Some very striking examples of artistic fidelity in this direction are to be seen at the exhibition. The pictures cover a wide field, including photographs of sea and sky, of trees, of shipping, of crowded streets, of almost deserted thoroughfares and so on. Of all these, perhaps, those photographs in which trees form a dominant part of the composition are the most satisfying to the artistic sense. "Sentinels of the Wood" and "Cameo" by Mr. J.E. Paton and Mr. W.S. White, are exquisite examples of what the artist photographer may accomplish. "Flower Sellers" by Mr. C.W. Bostock - a picture which was reproduced in these pages some months ago - is well deserving of contemplation by amateurs, who so often are vexed by the difficulties of strong sunlight and deep shadows. It is a masterly piece of work. Among the pictures of pastoral life, one of stockmen watering their horses at a creek is a happy representation of a typical outback scene. The exhibitors are Messrs. C.W. Bostock, Chas. Wakeford, J.E. Paton, W.S. White, D.J. Webster, Monte Luke, H. Mallard, Arthur Ford, E.N. Poole, C. Laseron and Stanley William Eutrope.


15th October 1921  The Australasian Photo-Review - Page 516

The following Sydney photographers have had pictures hung at the London Salon of Photography, 1921: Messrs. S.W. Eutrope, J.E. Paton, W.S. White, A. Ford, C.W. Bostock, H. Mallard, C.E. Wakeford and D.J. Webster, all of whom are members of the Photographic Society of New South Wales and the Sydney Camera Circle.

15th October 1921  The Australasian Photo-Review - Page 518


About the time this issue reaches Melbourne there will be in the windows of the Kodak Salon, “The Block”, a fine exhibition of work by members of Sydney Camera Circle. Many of the pictures to be shown have been hung in the London Salon and other of the big exhibitions and were included in the Camera Circle’s Sydney Exhibition in February last, fully reviewed in the February A.P.-R., in which (and some following issues) a number of the pictures were reproduced. The exhibition in Melbourne, therefore, will give the local workers an opportunity of inspecting exhibition prints that are acknowledged to be at least equal to anything produced in Australasia, certainly superior to most that is shown. In fact, they would probably be able to hold their own with the best produced in other parts of the world, where pictorial photography has had more attention than here in the antipodes. We commend this show to our Melbourne readers and hope they will make a point of inspecting the pictures. We are sure they will repay close study.


Thursday 23rd November 1922  Page 5 - The Newcastle Sun (NSW)

In connection with the Photographic Society's exhibition, which has been extended until next Wednesday by the courtesy of Messrs. W. Scott's, Ltd., the president (Mr. E.J. Dann) announced last night that he had been in communication with Kodak, Ltd., through whose offices 12 pictures had been sent up by Messrs. C.E. Wakeford and Monte Luke, members of the Sydney Camera Circle.

Many of these pictures have been hung in the London, Paris and Canadian salons and they have been nicely placed in a suitable light in Scott's, Ltd. No doubt all photographers and the public generally will take the opportunity of seeing these works of art.

The attendance at the exhibition throughout has been very encouraging and the exhibition of this work will form a very interesting confirmation of the Dean's remarks in opening the exhibition on the subject of art.


Friday 1st June 1923  Page 7 - The Newcastle Sun (NSW)

An Inaugural meeting of the Camera Club was held at Branxton last night. Mr. Bendich was in the chair.

Mr. Henri M. Mallard, a member of the Sydney Camera Circle, will conduct the party of the Newcastle and Branxton Clubs on taking pictures of the harbor, shipping and fore shores.



Photographer - HAROLD CAZNEAUX

Monday 14th July 1924  Page 3 - The Newcastle Sun (NSW)


The wonderful progress of photography as a branch of the fine arts will be shown at the exhibition, promoted by the Newcastle Photographic Society, which will be opened in Messrs. W. Winn and Co. Ltd.'s new exhibition hall tomorrow afternoon.

The catalog has been compiled, and it shows that there are 231 pictures.

Of the total number of pictures 160 represent the work of members of the society and although the society is modest in its claims, and only exists for educational purposes, it is confidently hoped that many of the local prints will rank as really artistic. At the same time it has been felt desirable, as far as possible, to include work by most of the members as an indication of the progress made during the past 12 months.

Pictures forwarded by the president and members of the Photographic Society of New South Wales and the Sydney Camera Circle, are of a high class. Mr. Monte Luke is sending 19 pictures, nearly all distinguished by salon honors in England and America. Mr. Arthur Smith is forwarding 15 pictures, seven of which are salons and some of which depict Newcastle subjects. Mr. Douglas R. Hill, president of the Photographic Society of New South Wales, is sending two pictures which have scored honors in the London and Australian salons and the British Empire Exhibition. Mr. Harold Bedggaad is sending five pictures, including salon pictures. Other Sydney artists of repute will be represented by Messrs. Tindale, Potter, H. Jones and E.F. Pollock.

Mr. Pollock is a famous animal and bird photographer. His pictures are small, clever and dainty, and include miniature prints of the famous horses Beauford, Gleaming and The Hawk, as well as many beautiful studies of animals and birds.

With the exception of Mr. Luke's work, which is not for sale, most of the pictures from Sydney may be purchased on application to Messrs. W. Winn and Co. Ltd., or to officers of the Newcastle Photographic Society. There will be no duplicates for sale, as most of the pictures cannot be reproduced, being in bromoil. In the case of Mr. Pollock's popular work, however, duplicates may be ordered. The opening of the exhibition will be presided over by the Mayor (Alderman Kilgour). Other speakers will be Rev. Dr. Crotty (Dean of Newcastle). Rev. Joseph Lundie and Mr. H. Morris Cohen.

As an indication of the position which some Newcastle camera men occupy, reference may be made to Messrs. G. Daniel and A.E. Bainbridge, who carried off the gold mdals for bromoil and bromide enlargements at the last show.


Alderman Robert George Kilgour was a member of the Newcastle City Council, with one brief break of a few months, for 28 years. In that time he was Mayor seven times; no other member has sat on the city's Mayoral chair for so many terms.

Born in Cooks Hill on 31st January 1867, his father was Mr. James Kilgour, one of the first school teachers of the district. Selected as the Mayor 1915, he was described as a "straight goer and an upright honorable citizen". He was elected with hopes to complete the construction of the Ocean Baths and Hunter Street this being a great feature for Newcastle, as the city was destined to become one of the most popular watering places in the state.

Alderman Kilgour along with his wife took a most active and honorable part in the local government life of the Newcastle District. His contributions were widespread due to his enthusiasm and devotion to his community in difficult periods. During Ald. Kilgour's occupancy of the chair, the Pneumonic influenza epidemic was spreading all around the world. Largely forgotten, the toll was 31 million globally.


Wednesday 5th November 1924  Page 3 - The Newcastle Sun (NSW)

The Newcastle Photographic Society held its usual fortnightly meeting in Mr. G. Daniel's studio last night.

The schedule for the next Newcastle Show (24th to 28th February inclusive) is now in print and will be ready for issue early in December.

The photographic section includes a number of classes open to all amateurs, certain classes for pictorialists from the Photographic Society of New South Wales, the Newcastle Photographic Society and the Sydney Camera Circle and a few prizes open to members of the Newcastle Photographic Society only.

Tho prize-money in these Newcastle classes has been given by Mr. J. Lance Lawson (president of the Newcastle Photographic Society and Messrs. R.D. Browne (Hon.Secretary) and E.J. Dann (Hon.Treasurer).

by Arthur Ford

1925 1926

1st June 1926 Page 38 - Harringtons Photographic Journal

The "Diogenes" which left port on the 30th April 1926, took away as passengers Mr. Peter Lawrence and his family. Mr. Lawrence actually was the youngest member of that little band of photographic pictorialists, the "Camera Circle" and although having only recently qualified for membership, his work will be missed at the monthly meetings.

Mr. Lawrence's favorite medium is bromoil and his outlook of Australian subject matter was always feelingly interpreted. His ability to represent Australian outback, considering that his stay in Australia was barely four years, is to be commended.

We understand that Mr. Lawrence is going home for a short visit and we hope that the absence of sunlight and the dull wintry conditions in Europe will help to make his stay a brief one and that his many friends who sadly said farewell will, ere long, have the pleasure of welcoming him back amongst them.

1927 1928

Wednesday 27 June 1928 Page 8 - Evening News (Sydney, NSW)

Mr. MONTE LUKE is receiving congratulations all round on having been admitted as an associate of the Royal Photographic Society, which represents to photographers what the Royal Academy is to painters: the hall mark of art. Apart from knowledge of his work by Authority in Australia. Mr. Luke has come directly under notice by having examples of his art hung in London salons, where they attracted special interest ranged alongside the finest accomplishments in photography. The new ARPS, is president of the Photographic Society of New South Wales, member of the Sydney Camera Circle, and executive member of the Australian Salon of Photography. He is an Australian of the second generation, on which fact he is awarded an extra cheer.



ANNA PAVLOVA by Harold Cazneaux, c1926

1930 1931




c.1890 - 7th January 1932


The passing of W.S. White, of the SYDNEY CAMERA CIRCLE and the PHOTOGRAPHIC SOCIETY OF NEW SOUTH WALES, has left a space in the ranks of the pictorialists of Australia and all who knew him and what his work stood for will mourn him deeply.

W.S. White, a modest worker yet a deep thinker, his knowledge of "art" and "books" was wide and broad. He always stood for the ideal, for simplicity in pictorial photography, avoiding publicity and stunts. He was quick to read merit in the work of others, the last to draw attention to his own. What work he has done has been done well and will stand the test of time.

A quiet bend of the river, the secluded corner of the woods, a mountain top, the bush in sunshine, mist or grey day, a Sydney by-way, the beauty of an old garden, all gave him endless themes for pictorial expression. A straight-out worker in Bromide, his prints were always a tribute to his cleverness in handling and technique. A casual observer might pass his pictures, but to those who could see they stood out in quiet beauty ever full of the joys of nature. Whatever message he intended in his picture could be read and felt.

Such titles as "Barred Light" and "Melody of Morn" will serve to describe his simplicity of purpose.

A strange contrast in the placid mood of W.S. White was the display now and again of a dramatic touch, but when used it was always subtly planned to stir the imagination. There is little need to relate his successes at practically every exhibition of importance over a great number of years in Australia and even overseas or to dwell further on the spirit of his work and his actions, together they will make the name of W.S. White stand for all time in the records of pictorial photography in Australia. Now that he has passed and left us mourning his spirit will live and his sincerity never be forgotten.


1933 1934 1935

by Arthur Ford

Tuesday 20 August 1935 Page 8 - Sydney Morning Herald (NSW)


The new Issue of Art in Australia contains reproductions in color of three interesting paintings. One is Mr. Will Ashton's picture of the Kanimbla Valley in the Blue Mountains, which has been done for Messrs. McIlwraith, McEacharn, Ltd's., Kanimbla, now being built in Belfast and will form part of the decoration scheme of the vessel. The others are Mr. J.R. Eldershaw's "Spanish Landscape," a watercolor; and Streeton's "Cutting the Tunnel." These are excellent prints of works of those artists. A fourth piece of color work is "British Pottery," designed by Dame Laura Knight, which will be shown in an exhibition of pottery by British artists, to be held in Sydney next month. A section of the publication is devoted to a number of full-page photographs of works by Mr. Rayner Hoff and there are some interesting pictures of sculptures in sandstone. Melbourne's new Rembrandt, "The Philosophers," is presented with pictures of the original studies and an article by Mr. Lionel Lindsay, in which he goes extensively into the history of the picture. Among the other photographs is one of Epstein's "Behold the Man." There are also plates of French paintings to be shown at the Society of Artists' annual exhibition in Sydney in September, the artists including Matisse, Andre Derain, Pisarro, Dufresne and Utrillo. A number of studies from the Sydney Camera Circle show beautiful work by Messrs. Cazneaux, Arthur Ford, H.N. Jones, J. Metcalf and others. The letterpress includes articles on "Knowledge or Feeling in Art," by Gladys Osborne; "At Home and Abroad," by William Moore; and one by Alleyne Zander, who writes on Negro art, Vlaminck, and Epstein. There is also one on a 16th century Italian painting, "The Holy Family and St. John," a work in the possession of a Sydney collector, of which a reproduction is given in color.

Friday 30 August 1935 Page 14 - Newcastle Morning Herald & Miners' Advocate (NSW)

A noteworthy feature of the current issue of Art in Australia, published by the Sydney Morning Herald, is a reproduction of Will Ashton's painting of the Kanimbla Valley, executed under commission from the firm of McIlwraith, McEacharn Ltd., in commemoration of the construction of a new steamer to the order of the company for the Australian coastal passenger service and to be named the Kanimbla. The painting is being sent home to the builders, to be included in the interior decorations of the new vessel. The work was painted from Hampton, situated half way between Mount Victoria and the Jenolan Caves and gives an extensive view of the valley looking towards the distant range of the Blue Mountains. Other interesting features of Art in Australia are reproductions of sculpture work by Rayner Hoff and a number of black and white studies, including some from the Sydney Camera Circle.


by Harold Cazneaux

Saturday 16 May 1936 Page 16 - Sydney Morning Herald (NSW)


A number of matters which have assumed importance in the art world recently are dealt with in the latest number of Art In Australia. Mr. Sydney Ure Smith writes concerning the position of adviser to the Felton Bequest, This bequest, as is generally known, is gradually building up for the National Gallery in Melbourne a splendid collection of pictures, among which figure such artists as Rembrandt, Turner and Van Dyck. The bequest needs an adviser in Europe and applications are now being received for this important post.

Kenneth Wilkinson gives an account of Mr. A.J.L. McDonnell's collection of pictures, which Mr. McDonnell has placed on loan at the University Union building during his absence in Queensland. This attractive series comprises work by recent English painters of note, and by Australians of the more progressive and experimental type. Two articles of general interest are "The Function of Art in Human Society," in which Eleonore Lange makes an excursion into philosophy, and "Rembrandt versus Kalsomine," in which Lionel Lindsay writes with his usual vivacity concerning interior decoration. William Moore contributes his usual miscellaneous notes, "At Home and Abroad" W.T. Owen deals with the Melbourne Camera Circle, and there are brief references to the New South Wales National Gallery, and to the painting of Harley C. Griffiths. On the 14 pages of the architectural section, edited by J. L. Stephen Mansfield, are illustrated various domestic and commercial edifices in Sydney and Melbourne.


Saturday 25 September 1937 Page 6 - News (Adelaide, SA)

The Photographic Society of New South Wales, in association with the Sydney Camera Circle and the Professional Photographers Association of New South Wales, is organizing the Australian Commemorative Salon of Photography; to be held in Sydney from March 23 to April 10, 1938. This Salon is part of the official program of events to be held in connection with the 150th anniversary celebrations.

There will be six sections, as follows: (1) Pictorial prints; any process except hand colorings. (2) Historical prints, Australian historical buildings, events and sites. (3) Scientific and technical photography. (4) Professional portraiture, open only to those earning their livelihood by photography. (5) Commercial, advertising and press photography, open only to those earning their livelihood by photography. (6) Color transparencies.

In each of the six sections three silver medals will be placed at the disposal of the judge, together with one silver medal in each class for Australian entrants only (class 2 excepted). The entry fee is 5/, which covers a maximum of four prints, with the exception of sections 2 and 6, in which eight entries may be submitted.

The last day for receiving entries is February 25. Entry forms are obtainable in Adelaide from the secretary of the Adelaide Camera Club, or from Kodak Pty. Ltd., or Harringons Ltd. There is certain to be a large number of prints submitted for this salon, and the early issue of entry forms and conditions is therefore very welcome, as serious workers will have ample time and opportunity of preparing some really good photographs to represent South Australia.

It would be appreciated if all those who intend to enter prints will advise the club's secretary, as it may be possible to arrange for all entries to be sent to Sydney in one consignment.

Friday 11th February 1938 Page 3 - The Mercury (Hobart, Tas)


An Australian Commemorative Salon of Photography has been established as part of the celebrations associated with the 150th anniversary of Australia. The salon is the result of collaboration by the Photographic Society of New South Wales affiliated with the Royal Photographic Society of Britain, the Sydney Camera Circle, and the Professional Photographers Association of New South Wales. The salon solicits entries from all States for its exhibition to be held in the Commonwealth Bank Buildings, Sydney, from March 23 to April 10.

There are six sections, one each for pictorial prints, historical prints, scientific and technical photography, professional portraiture, commercial, advertising and Press photography and color transparencies. In each section three silver medals will be awarded and one silver medal in each class of Australian entrants only with section two excepted.

The entry fee is 5s, for which each entrant may submit not more than four prints in every class, except classes two and six, in which eight entries may be submitted. Particulars may be obtained from and entries must be sent to the Australian Commemorative Salon of Photography, c/o Mr. H.V Leckie, Box 829G, G.P.O., Sydney, before February 25.


Saturday 26 March 1938 Page 7 - The Sydney Morning Herald (NSW)


The photographic art in Australia is comparatively young, but it has made remarkable progress, and is destined to achieve much greater distinction. Until a few years ago Australia was practically unknown in the photographic world, but today, at the time of our 150th Anniversary, the work of Australians is recognized in all the noted salons overseas.

The Photographic Society of New South Wales, in association with the Sydney Camera Circle and the Professional Photographers Association of New South Wales, has organized the Commemorative Salon of Photography, which is now open in the gallery of the Commonwealth Bank building. This important salon, which is officially recognized by the Anniversary Celebrations Council, includes examples of photographic art by amateur and professional workers from all over the world, and illustrates the tremendous advance which photography has made. The beauty of the pictures and the wide range of subject matter render the exhibition of unique interest to the public.

Photography had not been invented when Governor Phillip landed at Sydney Cove. It is a little over 100 years ago since Daguerre and Fox Talbot worked out the difficult experiments which led to the discovery of photography.

The real development of photography occurred only in our parents day and there are many old but well-preserved "Daguerreotypes" and even old silver prints still in existence which belonged to them. There came a change-over from the "wet plate" to the "dry plate " and the old and cumbersome process slowly gave way to the new and lighter method. Studios were opened in greater numbers in the cities and spread to country towns. The photographer, garbed in his velvet coat and perhaps a velvet cap was a personage in those days. He worked "by appointment only" and his studio bore the appearance of "back stage" of the old-time theatre, for he had to supply the accessories for his sitters — backgrounds that would provide interiors of mansions, churches, seaside scenes, and landscapes. His stock-in-trade included fake terraces, staircases, ship's masts, boats, elaborate furniture and huge clam shells for the baby. Some possessed stuffed birds and animals and children were often specially dressed up to fit in with the photographer's ponderous accessories.

All this passed away. The accessories and velvet coats were sold as junk, heavy cameras and huge old-fashioned lenses were bundled out of the way and a newer era was ushered in. Young Australians got hold of newer cameras, lighter and more efficient lenses and simpler studio equipment. Electric light appeared, and daylight was considered out of date. The photographer today works in a modern studio, he takes your portrait while you are chatting to him, he touches buttons and switches, and lights appear from all angles of his studio, and he uses thin sensitive films instead of heavy glass plates.

Australia is up to date in photographic matters, although it must still rely upon world centers for high-grade cameras and equipment. For many years, however, quality sensitive film, plates printing papers and much other photographic material have been manufactured in Victoria and New South Wales, and eventually we may hope to produce cameras, lenses and other delicate equipment.

Australia has photographers whose work compares very favorably with that done overseas. It is being accepted and hung in the noted salons of the world, such as the annual show of the Royal Photographic Society of Great Britain and the London Salon of Photography, and many foreign salons exhibit Australian pictorial photographs, which become a splendid advertisement for this country.

The amateur photographer has been responsible for a great deal of the progress of artistic photography in Australia. His independent and individual outlook has enabled him to produce pictures without thought of sales, and much of the artistic quality apparent in today's photography has developed from the amateur's sound and natural outlook. We have throughout Australia many amateur photographic clubs and societies who work purely for the love of advancing artistic photography. The Photographic Society of New South Wales, which is affiliated with the Royal Photographic Society, was founded over 40 years ago, and it continues its good work.

Photography is one of the worlds great hobbies and our workers have shared in the international interchange of the best examples of pictorial art.

Commercial and advertising photography, like press photography has undergone a transformation, and the old-time inartistic type of cameraman has no value to-day. The new work is exacting and only men and women of the highest artistic ability and photographic technique can hope to succeed. Photography for the million is a great teacher it compels attention to detail, develops the powers of observation, imagination and patience, and brings out latent artistic talent. Above all, it encourages a love of our great Australian outdoors. Whatever is spent on photography as a hobby is returned to the discriminating user tenfold.

A remarkable fact about photography is that while it is capable of being employed by scientists for record and other work, the artist, using the same materials, can produce a picture which will portray a subject arranged with pleasing composition and rendered in beautiful tonal quality — a picture which can be justly looked upon as a work of art. Critics who say that photography is only a mechanical means of producing a picture know little of artistic photographic technique. A first-class photographer who possesses depth of feeling, an eye for artistic selection and a creative mind can give lasting joy to the beholder of his work and elevate photography to the realm of true art.

1939 1940

SYDNEY CAMERA CIRCLE  circa 1900 and 1940

J.E. Paton, W.H. Moffitt, D.R. Hill, W.S. White, E. Poole, G. Morris,
H. Bedgood, H. Mallard, S. Eutrope, J.W. Metcalfe, C. Bostock

Saturday 10th August 1940 Page 4 - The Newcastle Sun (NSW)

The next meeting of the Newcastle Photographic Society is on Monday 12th August, at 8pm, when there will be a talk and demonstration by Mr. J. Houghton on "Paper Negatives" and an exhibition of 20 bromoils by Mr. W.H. Moffit, of the Sydney Camera Circle. Further details may be had from Mr. Geoff. Garside, of Kodak (Australasia) Pty. Ltd., Wolfe-street, Newcastle.


Tuesday 25th September 1945  Page 5 - The Daily News (Perth, WA)

Exhibition of camera pictures opened in Kodak Salon, Perth, yesterday presented work of many well-known Australian photographers.

Perhaps one of the most startling pictures was "Pals", picturing an armored skeleton beside a man in modern resperator.

The late Damien Parer's strong personality smiles from a camera picture by Max Dupain. Youth and age are shown in attractive pictures, while landscapes, towns, river scenes go to make a versatile and extremely attractive gallery.

Exhibition is the work of members of the Sydney Camera Circle, Photographic Society of New South Wales and the Miniature Camera Group, it was officially opened by Chief Public Librarian Dr J.S. Battye and is open, to the public.

Tuesday 25th September 1945  Page 8 - The West Australian (Perth, WA)
Wednesday 26th September 1945  Page 3 - The West Australian (Perth, WA)

An exhibition of camera pictures by members of the Photographic Society of New South Wales, Sydney Camera Circle and the Miniature Camera Group was opened by the Chief Librarian of the State Public Library (Dr J.S. Battye) in the Kodak salon yesterday.

Although lighting facilities were hampered to a certain degree, the exhibition was well attended by Perth photographers and others connected with the photographic profession.

In introducing Dr Dattye, the manager of Kodak Pty, Ltd (Mr. A. Wonson) said that credit was due to Mr. Monte Luke FRPS, portrait photographer of Sydney, who was responsible for the organization of the exhibition.

Dr Battye, in declaring the exhibition open, traced the development of photography from the Daguerreotype of 1839 to the present and commented that if this exhibition was an indication of the of the development of photography over 100 years then he wondered what progress could be made in the future.

May 1948  Page 283 - Australasian Photo-Review


6th April 1948

This year has witnessed yet another gap in the ranks of Australia's internationally, recognized pictorial photographers.

I had known Mr. Moffitt and his work for many years, but it was really only when he was elected as a member of the Sydney Camera Circle that his fine pictures became generally known to most amateurs. He. was always of a quiet and retiring nature, one who never sought the limelight, yet as an artist with the camera and pigment he established himself as one of Australia's most individual and brilliant exponents of pictorial photography.

More recently, especially with the arrival of the so called Modern Trend in Photography, there has been considerable criticism of the Bromoil process. I, for one, was particularly pleased when Mr. Moffitt accepted your editorial invitation to answer that criticism.

This he did in a convincing and impressive manner when his article duly appeared in the magazine; the answer was sound and logical, which was only to be expected, for as a critic and speaker on pictorial photography, William Heath Moffitt was always worth listening to. His instinct in assessing the pictorial content of a print was always clear cut and dependable and what is more important, ever of value to those who showed him their work.

His chosen subject matter was always the Australian Landscape; on his trips to the country he would wander hand in hand with nature and her varying moods. Just how successful he was in his many interpretations may be judged from the splendor of the portfolio which accompanied his article; I feel that every reader must treasure this magnificent offering, the more so by reason of the fact that it represents, I believe, the most complete and representative group of his work yet to be published.


May 1949  Australasian Photo-Review - Page 325

A feature article in the Sydney press during March related to the activities of the National Co-operating Body for Visual Arts, which had been organized by the Commonwealth of Australia Office of Education in pursuance of an agreement with UNESCO. As one of the aims of this body appeared to be the lessening of customs restrictions on the interchange of artistic matter we felt inclined to pursue the matter further. An enquiry to the Office of Education brought a ready and comprehensive reply explaining in detail the membership and the activities of the aforesaid NCBVA.

Imagine our surprise when we found that UNESCO did not consider pictorial photography to be one of the visual arts!

No time has been lost in the direction of putting the claims of pictorial photography before UNESCO through all readily available channels, witness the following:

H. Cazneaux, Hon. FRPS, writes:

Thanks for your letter and copy. I will write the Royal Photographic Society Council and place your suggestion to me before them and to ask them to bring the matter (of overlooking pictorial photography) before the UNESCO Headquarters.

It is unfortunate that a gap has existed in the shape of the non-recognition by National Galleries and other art bodies of pictorial photography—the gap has existed practically ever since photography was discovered. This same gap seems to have appeared in this UNESCO matter, e.g., the present non-inclusion of pictorial photography in the program of the Visual Arts National Co-operating Body.

It may prove a good plan to write Hal Missingham on this matter, as he has been invited to join that body. Mr. Missingham seems to have some leaning towards the art of photography — in this respect you may recall his “Foreword” to the pictures in the 1947 Annual of Australian Photography.

Many years ago the Sydney Camera Circle approached the trustees of this Gallery on the question of the recognition of pictorial photography, and we were invited to attend a meeting of trustees at the Art Gallery and to bring a collection of our pictures. They were certainly impressed by the pictorial photographs and some of our arguments for recognition. But in the end they played safe, using these words; “When the National Art Gallery in London admits the Art of Photography, we here will do the same”.

This UNESCO body should certainly cast aside all doubts and definitely include pictorial photography as one of the Visual and Cultural Arts on their fine program.

August 1949  Australasian Photo-Review - Page 526

Regarding that UNESCO matter (page 323, May issue), we have now received a reply from L. Whitney Standish, Chairman P.S.A. International Relations Committee. An extract follows:

"One way or another we have been corresponding with UNESCO for the past year and one-half. We have, however, not been able to sufficiently untangle the maze of red tape within UNESCO to produce any appreciable results. Accordingly, we decided several months ago that we would go along on our own in our various activities.

The first stumbling block with UNESCO appeared to be their ruling that they would only deal with international federations and would not deal with national societies such as the Photographic Society of America, irrespective of the fact that we have a very substantial international membership. As you probably know, there is in existence an Federation Internationale De L'art Photographique headed by Dr. Van de Wyer, of Belgium. The Photographic Society of America is not a member of this organization, but we have been in close touch with Dr. Van de Wyer. Whether or not he has made any overtures to UNESCO I do not know, but if I hear anything from him on this point I will keep you informed”.

October 1949  Page 656 - Australasian Photographic Journal


The 4th September, saw the passing of DOUGLAS RALEIGH HILL, member of the Sydney Camera Circle and of the Photographic Society of New South Wales. D.R.H. was for many years an enthusiastic pictorialist. He specialized in small sized work and seldom made a print larger than whole plate, his chosen medium being the enlarged paper negative process. His favorite subjects were figure studies. Very frequently these were nude studies of the male subject and some of his torso prints of youths in athletic poses will be long remembered by many of his associates who derived much pleasure from viewing them. He possessed a keen sense of humor mingled with a dry wit, which faculties were always appreciated by photographic audiences.

EDITOR  : D.R. Hill was a regular contributor to the "Australasian Photographic Journal" in the early 1920's. Examples of his figure photography will be seen on page 249 of the volume for the year 1924 and on page 350 of the year 1926.


Another well known pictorial worker has passed away; this is ADAM FORREST GRANT, who was a prominent figure in the early days of pictorial photography - those pleasant years before the advent of World War No. 1, in which he served with an engineer unit. He was connected with the Photographic Society of New South Wales for over thirty-five years and later with the the Sydney Camera Circle. His work was to be seen in many exhibitions and salons over a long period of years; it was mostly in landscape, though later he also became an expert in technical photography. He died on 27th August 1949. So passes another worker who will be remembered as a fine photographer and a sincere friend - one who often lent a helping hand to many along the highways and byways of life.

Laurence Le Guay edits A Portfolio of Australian Photography and includes some examples of work from the Sydney Camera Circle.

April 1950  Page 257 - Australasian Photo-Review



MARCH 10th, 1950

It is with sincere regret that we record the death of Mr. James E. Paton, whose passing marks the loss of yet another link with the great 'twenties. He was one of those who, with enthusiasm and painstaking care, might be said to have watched over the cradle of photographic pictorialism in Australia. An active member of the Photographic Society of New South Wales and a foundation member of the Sydney Camera Circle, he soon became a driving force in both organizations.

As a comparatively young and very keen snapshotter, he arranged for a preliminary course of instruction from Harold Cazneaux, after which he very quickly acquired the fullest technical and pictorial ability. His high standard was evidenced by the acceptance of his prints at both the London Salon and the Royal Photographic Society for many years. His photographic work possessed an individuality and freshness of outlook all its own, and to his credit are many out standing prints that will be long remembered. He particularly favored landscape work. He became a master of the bromoil process at a time when that process was little known in Australia.

Through pressure of business interests, he had given up active work with the camera, but nevertheless he always kept in close contact with his fellow workers. To his wife and family, his friends both here and abroad offer their sincere sympathy.


April 1950  Page 263 - Australasian Photo-Review

The Sydney Camera Circle has been invited to provide a House Exhibition of Members Work in the rooms of the Royal Photographic Society of Great Britain during July, 1950.

October - The Sydney Camera Circle organizes a tribute to Harold Cazneaux at the Assembly Hall, Sydney, during which slides of his favorite photographs are shown to the accompaniment of his tape recorded comments.


July 1953  Page 446 - Australasian Photo-Review




It is with sincere regret that we record the passing, late on the morning of June 19, of Australia’s veteran pictorialist and grand old man of photography.

At the funeral there was a full representation of members of the Sydney Camera Circle, with which group our good friend had been associated from its inception, while the profession was represented by Val Waller, Monte Luke and Laurence Le Guay.

In the memorable words of Jack Cato on the occasion of The Nation's Tribute of October last . . . “He became, for this country, photography’s chief spokesman — its leading lecturer, teacher, adviser, demonstrator and judge. He was forever writing articles, reviews and commentaries and reporting abroad on the work and the standards of the year. In all this he never hoarded a secret nor sought an advantage . . . "Caz" has had a full and a wonderful life; he’s a kindly modest soul who never made an enemy or lost a friend. He has known struggle and tragedy and loss and he has also known great achievement, though modestly disinclined to admit the latter. When one begins to talk of "Caz" one always finds oneself returning to the man himself, to the gentle, modest, kindly man who ever gave so much of himself to others”.

Photograph by Monte Luke FRPS

Tuesday 17 November 1953 Page 4 - The Canberra Times (ACT)

An interesting visitor to the Canberra Photographic Society for the November meeting was Mr. J.W. Metcalfe, from Sydney. Mr. Metcalfe brought with him a collection of prints by once famous European photographers, donated to the Sydney Camera Circle by noted art critic Tilney. Some of the prints were made before the turn of the century by techniques rarely used in present day photography. In addition to the Tilney collection, Mr. Metcalfe brought full color prints processed in Germany from film taken on the recent Everest expedition. Most of these were taken at the 22,000 feet camp and included studies of Sir Edmund Hillary and Tensing. Mr. Metcalfe also judged the competition for the month. Leading points were allotted to C.S. Christian, C.L. Leslie and K. Bogg.

April 1954  Page 248 - The Australasian Photo-Review

At the invitation of Miss A. Stening, A.J. (Mons) Perier has been working on the cataloging of the photographic equipment and negatives of the late James Stening. Of special interest were the thirteen (and perhaps more) medals which J.S. Stening gained for his photography in England, India, Australia and New Zealand over the years 1899-1910. It is planned to donate this fine collection of awards to The Mitchell Library, Sydney.

August 1954  Page 514 - Australasian Photo-Review


It is with regret that record the death on 12th July of Frank D. Collins at the age of 71. Born in England, he came to Australia as a young man and was for some years a member of the Photographic Society of New South Wales. At the time of his death he was an an active member of the Sydney Camera Circle, with which body he had been associated for many years. Of an artistic nature, Mr. Collins was very interested in the pigment processes (especially bromoil transfer) as an aid to pictorial effect. He also experimented extensively in three-color bromoil transfer prints. He will be greatly missed in Sydney photographic circles.

1955 1956 1958 1962 1963 1965 1967 1968 1969 1970 1972 1973 1974 1975 1976 1977 1978 1979 1984


R.G. Allman May 1921 -
Dr Michael L. Armstrong October 1970 - 1971
William Barrett 1918 - 1922
H. Bedggood 1924 - 1928
Robert Sidney Beverley 1962 - 1973 Chairman 1965 - 1973
Cecil W. Bostock
1884 - 1939
1916 - December 1935 Foundation Member
R.E. Donald Brown 1949 - 1978 Chairman 1974 - 1978
William G. Buckle
1894 - 1947
1930s - 1940s
Eric Keast Burke 1940s - 1967
Harold Pierce Cazneaux
1878 - 1953
1916 - 1953 Foundation Member
First President from 1922
Dr Arthur Ernest Fraser Chaffer
1900 - 24th June 1963
1928 - June 1963
Nell Chaffer
1905 - 1990
1963 - 1978
Cliford Stuart Christian March 1957 - June 1967
Kenneth Clifford October 1963 - 3rd June 1968 Resigned 3rd June 1968
Dr K. Courtney 12th March 1969 - Joined 12th March 1969
Frank D. Collins
1883 - 12th June 1954
1940 - 1954
Olive Edith Cotton
1911 - 2003
1939 - *
Dr Kevin Courtney 1969 - 1971
Q. Davis * - May 1960
Norman Cathcart Deck
29th May 1882 - 1980
Honorary Member
October 1921 - 1978
Honorary Life Member
August 1972 - 1978
Robert E. Dickinson 1971
H.D. Dircks
1887 - July 1962
1940s - 1961
Arthur Eades 1918 - 1920
Stanley William Eutropoe
1891 - 1983
1917 - 1978
Arthur William Christopher Ford
26th November 1889 - 1st September 1965
1917 - 1922
November 1963 - September 1965
Honorary Life Member
February 1964 - September 1965
D. Fraser May 1921 - 1937
A.W.W. Gale
1903 - 19th May 1969
October 1940 - 1969
Harold Richard Gazzard
** - 10th August 1976
November 1962 - August 1976
George L. Graves 1966 - 1971 Joined November 1966
Nell Griffin 1974 - 1978
Laurence Le Guay
1917 - 1990
1940 - 1953
Charles Haseron 1918 - 1921
Kenneth Dudley Hastings October 1949 - 1966
E.B. Hawkes February 1932 - July 1936
Douglas Raleigh Hill November 1924 - 1938
James Hoey February 1956 - 1978
Robert Holcombe 1918 - 1921
Kiichiro Ishida April 1921 - December 1923
Cyril V. Jackson 1949 - 1973
Harry Powell James
** - 12th June 1973
1935 - June 1973
Laurence R. James June 1966 - June 1967 Joined June 1966
Harold N. Jones
** - 9th January 1970
1928 - January 1970
Ken Kirkness 1971 - **
Charles Francis Laseron
1887 - 1959
1920 - November 1921
Peter Lawrence
1882 - 1970
1925 - 1928
Ronald A. Lloyd 1967 Joined 9th August 1967
Monte (Charles Robert Montague) Luke
1885 - 3rd November 1962
1921 - November 1962
J.G. McColl Associate Member
April 1923 - 1931
Roy A. MacDonell
** - 1973
April 1971 - 1973
Malcolm McKinnon 1916 - 1920 Foundation Member
Henri Marie Joseph Mallard
November 1884 - 21st January 1967
1917 - January 1967 Retail Manager - Harringtons
Photographic Merchants
J.G. McColl 1928
John William Metcalfe
1883 - 6th September 1955
March 1925 - 1955
Mrs A.G. (Florence) Milson
1897 - 1924
1920 - 1921 First Lady Member
William Heath Moffitt
1888 - 1948
June 1927 - 1938
George James Morris
1884 - 5th August 1959
April 1925 - 1938 Hon.Secretary 1925 - 1936
Robert Nasmyth 1949 - March 1972
James Paton
** - 9th March 1950
1916 - 1938 Foundation Member
John L. Phillips 9th August 1967 - 1978
Edgar N. Poole
** - 29th June 1965
1917 - 1932
R.D. Roddenby April 1971 - **
Richard Vaughton Simpson
** - December 1967
1928 - 1967
James Sydney Stening
1870 - 16th September 1953
1916 - 1920 Foundation Member
Aleck Stern March 1973 - 1978
Sydney Ure Smith
1887 - 1949
Associate Member
May 1921 - 1949
Charles E. Wakeford
** - August 1968
1917 - March 1965 Honorary Life Member
March 1965 - 1968
Charles F. Walton 1940s - 1950s
D'Arcy J. Webster
** - 1951
1918 - 1932
William Stewart White
c1890 - 7th January 1932
1916 - 1932 Foundation Member
John Williams
1933 -
1971 - **
Kurt Winkler October 1973 - 1978
John L. Wray 1950s - 1960s