WAR PHOTOGRAPHY
By CAPTAIN F. HURLEY
Late Official Photographer to the A.I.F.
15th February 1919 Page 164 - Vol. 26 No. 2 The Australasian Photographic Review
War had just been declared when we set southward for the Antarctic with Sir Ernest Shackleton, and for two years no further news was heard until our rescue from Elephant Island. Then the story, horror, and the fiendish developments of modern warfare were told to us, sounding like the recounting of an incomprehensible and uncanny fable. Gas, flame-throwers, aerial bombing, etc., etc., battles by land and sea - what amazing developments and astounding doings! We were all excitement, and wanted to be in it, too.
For me, visions of new fields opened for the camera, and of making pictures that would last, for here was an opportunity of turning all my experience to public advantage in recording the doings of our fellow countrymen on the field of battle — pictures that future generations might proudly look upon — imperishable records of history.
Upon our arrival in London, all the members to a man joined up. By the High Commissioner’s Office, I was offered the post of Official War Photographer to the A.I.F., which I at once accepted. A few weeks later I was on the battlefields of Flanders.
What a contrast to the ice fields of Antarctica! It would be impossible to find in the vast domain of photography two branches of work more divergent. In the latter — everything beautiful, reposeful, and of infinite charm; the former, filled with horror—it was all action and suffering, yet it was pictorial.
Both branches of work had in common: hazard and unprecedented conditions, conditions which after all, if one is enthusiastic, give to the work zest and make it worth while.
The various processes of photography - exposure, development, and reproduction — are, under ordinary circumstances, purely mechanical operations; the full enjoyment is derived from the composing and selection of the picture.
Now, there is no type of instrument so flexible and generally adaptable to one’s requirements as the modern stand camera, with a battery of lenses. One was my faithful standby.
Of course, to stand calmly in a spot focusing up and composing a picture had manifold disadvantages, but it is wonderful how safe one can feel beneath a few thicknesses of focusing cloth.
One even feels immune to shell and machine-gun fire. Other official photographers laughed heartily at the contention, but the proof of the experiment was in the results. As we hastened across the duck boards together, solicitations and persiflage arose from trench and pill-box. “Take my photo, mister!” followed our wanderings, and often I was hard put to it for suitable repartee. Wherever we went amongst the “Aussies”, generous assistance was given, which smoothed the path to success.
For front line work, or where there was unusual hazard — snap and run — I used a direct type of instrument. Such was indispensable for work of speed and action. I conducted numerous experiments with color photography, and found it of extreme value for record work. The characteristic color of the shell-torn battlefields and rain-filled shell craters, discolored by gas fumes, are all portrayed with perfect accuracy.
Experiences and hairbreadth escapes are common to all on active service; perhaps those of the Official Photographers are more diverse, as their work directs them into every field of the service. The application of photography to modern warfare is so general that the different branches are administered by numerous departments. That over which I had direct control was the Photographic Section, War Records Department. This establishment deals with all photographic matter appertaining to publicity, the recording of personnel, actions, battlefields, and, in fact, everywhere and everything of reference value and historic interest.
Special permission was granted by the G.O.C., A.I.F., for the making of “Photographic Impression Pictures” pictures made to produce a realistic impression of certain events by the combined use of a number of negatives. None but those who have endeavored can realize the insurmountable difficulties of portraying a modern battle by the camera. To include the event on a single negative, I have tried and tried, but the results are hopeless. Everything is on such a vast scale. Figures are scattered — the atmosphere is dense with haze and smoke — shells will not burst where required—yet the whole elements of a picture are there could they but be brought together and condensed. The battle is in full swing, the men are just going over the top, and I snap! A fleet of bombing planes is flying low, and a barrage bursts all around. On developing my plate, there is disappointment! All I find is the record of a few figures advancing from the trenches — and a background of haze. Nothing could be more unlike a battle. It might be a rehearsal in a paddock. Now. if negatives are taken of all the separate incidents in the action and combined, some idea may then be gained of what a modern battle looks like.
During a recent exhibition held in London by the High Commissioner for Australia, one such picture, depicting a scene near Zonnebek, was enlarged up to 300 square feet. Attired in civilian dress, I often mingled with the “diggers” to hear their scathing criticism. When I find they approve and pass favorable judgment, then I feel convinced such impression composites are justified.
Almost daily I am asked, “When are we to have an exhibition out here?” That is more than I can tell. The large exhibition which I formed for Australia is at present in London.
Through the courtesy of Mr. J.J. Rouse, Director of Kodak (Australasia) Ltd., and by permission of the Hon. the Minister for Defence, and the Repatriation Department, an exhibition of over one hundred and fifty enlargements from my war negatives and some thirty direct color transparencies, will, immediately the pneumonic-influenza restrictions are lifted, be held on the first floor of the Kodak Salon, Sydney. The whole of the cost of the exhibition will be defrayed by Kodak (Australasia) Ltd., and the gross proceeds from admission fees and the sale of the finely printed souvenir catalog, handed to the Red Cross.
In conclusion, my thanks are due to all those whose generous assistance facilitated my work, and to the members of the Section, who at all times applied themselves diligently and enthusiastically.
15th June 1918 Page 323 - Vol. 25 No. 6 The Australasian Photographic Review
A CAMP IN THE DESERT
Captain Frank Hurley,
Official Photographer with the Commonwealth Military Forces
15th February 1919 Page 136 - Vol. 26 No. 2 The Australasian Photographic Review
THE RUINS OF AN OLD CHURCH AT VOORMEZELLE
Reproduced from a direct Color Transparency
Captain Frank Hurley,
late Official Photographer with the A.I.F.
15th February 1919 Page 143 - Vol. 26 No. 2 The Australasian Photographic Review
THE RUINS OF THE CLOTH HALL, YPRES, THROUGH A CLOISTER WINDOW
Captain Frank Hurley,
late Official Photographer with the A.I.F.
15th February 1919 Page 149 - Vol. 26 No. 2 The Australasian Photographic Review
THE MORNING OF PASSCHENDAELE
Captain Frank Hurley,
late Official Photographer with the A.I.F.
15th February 1919 Page 155 - Vol. 26 No. 2 The Australasian Photographic Review
LOOKING THROUGH A RUINED CATHEDRAL WINDOW ON TO A BATTLEFIELD CEMETERY.
Captain Frank Hurley,
late Official Photographer with the A.I.F.
15th February 1919 Page 161 - Vol. 26 No. 2 The Australasian Photographic Review
DEATH’S HIGHWAY
An exposed roadway on the battlefield.
Captain Frank Hurley,
late Official Photographer with the A.I.F.
15th April 1919 Page 164 - Vol. 26 No. 4 The Australasian Photographic Review
KODAK EXHIBITION OF
CAPTAIN F. HURLEY
WAR PHOTOGRAPHS
The exhibition was a distinct success, there being a steady stream of visitors during the whole time it was open. The amount received for admissions and sale of catalogs amounted to £179 2s. 6d., this being made up to £2OO by Kodak (Australasia), Ltd., and the whole amount handed to the Red Cross Society as a donation from the firm, who also defrayed the entire expenses of the exhibition.
The Exhibition was opened by Lady Davidson, D.B.E., and amongst those present were: Mrs. J.J. Rouse, Miss Winnie Rouse (who presented Lady Davidson with a bunch of carnations), Mrs. A.G. Milson, Mrs. G. Davis, Mrs. E.D. Gray, Messrs. J.O. Fairfax, A.S. Le Souef, T.J. McMahon and Q. Deloitte.
Lady Davidson was so delighted with the exhibits that later in the afternoon of the opening day, she made another visit, accompanied by Sir Walter Davidson (attended by Captain Stanham), who took the keenest possible interest in the show.
SIR WALTER EDWARD DAVIDSON
Born 20th April 1859 Valletta, Malta
Died 15th September 1923 Sydney, Australia
GOVERNOR OF NEW SOUTH WALES
17th February 1918 to 15th September 1923
Following are some extracts from press notices:
THE SYDNEY MORNING HERALD:
It is a collection of widely diversified character, the views ranging from those which do little more than suggest the atmosphere of war to others of which the poignant realism is an inexpressibly sad reminder of the terrible significance of battle. Of the former class, a view of "The A.L.H. Moving the Desert” is typical. Of the latter, No. 78, “The Dawn of Passchendaele”, immediately arrests attention. This is a very striking picture, with all the sinister suggestiveness appropriate to that dreadful day. It was taken under machine-gun fire at a spot where some stretcher-bearers had laid down their stricken burdens over night to wait for a relief party. The recumbent, shrowded figures — the attitude of complete exhaustion in which a guarding bearer leans against a wall—tell a mute story of suffering and endurance which gives the heart a sharp pang and stirs the imagination to a perhaps more intimate realization of what prodigies of devotion and sacrifice those shell-swept trenches of Flanders witnessed. No. 27, showing the Australian gunners of the 55th Howitzer battery at work, has grim interest, for two reasons. One is that it is the only photograph in existence actually taken of artillery during a gas attack. The other is that subsequent to the negative being secured this battery was wiped out. The largest picture in the collection - shows an episode after the battle of Zonnebeke, Australian infantry, sup ported by bombing planes, moving resolutely over the top to meet a German counter-attack. It is a composite picture, compiled from 17 negatives, which before production were submitted to General Birdwood, It is a picture of great value and interest. Indeed, this is the case with the whole collection, which can unreservedly be commended to the public for inspection. The difficulties associated with getting these pictures were almost unimaginably great. Every conceivable kind of ruse and stunt had to be elaborated in advance. They show “the real thing”. Many of them are the results of running desperate risk, and behind them all is the suggestion of a quick intelligence”.
THE DAILY TELEGRAPH:
A very interesting exhibition of Australian war photographs at the Kodak Salon, George Street, was opened yesterday by Lady Davidson.
The photographs were taken by Captain F. Hurley, official photographer to the A.I.F. in France and Palestine, and the whole of the proceeds are going to the Red Cross. Kodak Ltd., are meeting all the expenses.
As Lady Davidson said, in her opening speech, such photographs give a better idea of what happens in the trenches than any description can. It is quite clear that the taker of them was not troubled by questions of personal risk, and they include some fine fighting pictures, taken about as close up as they could be. One of the attractions of the exhibition is a set of color photographs, which are in them selves well worth a visit.
THE SUN:
Returned soldiers will be interested in and other visitors startled at the exhibition of war photographs by Captain F. Hurley now being held at the Kodak Salon, George Street.
The photographs embrace practically all theatres of the war in which Australians have taken part. Naturally those taken in France are the most dramatic.
No. 77 — an “episode after the Battle of Zonnebeke” — is the most ambitious. It shows a trench and Australian diggers going over the top. On the right is a burning aeroplane, and over the troops hover a couple of other machines.
No. 79, “Battle scarred sentinels”, is of a shell-blasted avenue of trees. One lonely figure is taking cover behind a tree trunk from a shell bursting in the roadway. In its solemnity it is almost like an avenue of Egyptian monuments in some deserted city.
There are several grim pictures of operators in a field dressing station. The Palestine photographs are mostly scenic or of scenes behind the firing line.
Here and there, however, it is evident that Captain Hurley got as close to the real thing as the circumstances of the country permitted him.