THE SYDNEY CAMERA CIRCLE
HAROLD CAZNEAUX Hon. FRPS
September 1950 Page 556 - Australasian Photo-Review
The Sydney Camera Circle was founded just on thirty-five years ago — in November 1916, to be exact — by a small band of pictorial photographers who met for the purpose at "The Little Studio" in Denman Chambers, Phillip Street, Sydney.
The meeting had been long planned by the members of the group, for they possessed very definite ideas regarding the future advancement of pictorial photography in Australia. They felt that this art had, over the years, settled down into something of a rut, ever adhering to the traditional character of the “Old School” — actually almost a universal characteristic of the overseas Salons and one, at that time, closely followed by very many Australian workers. Even the most brilliant types of subjects were toned down and all vitality suppressed with a view to producing pictorial work uniformly low-toned. More over, too much stress was being devoted to set principles of composition. It was a fact that for nearly a decade to 1916 the majority of the photographic societies of Australia had been dominated by this sad age of “pictorial depression”.
At the onset it must be admitted that the few foundation members of the Circle at the time of its foundation were not alone in their thoughts — they were merely representative of a larger number of pictorial photographers who had also “seen the light” and who desired to see established an Australian school of pictorial photography in which low and muddy tones would no longer be seen. Our Circle members, nevertheless, did play a very prominent part in this 'active' movement towards a national character in Australian photography — a trend which has steadily advanced up to the present day. The Circle would be the last to claim any special credit for this victory over the powers of gloom; its members were but forerunners, a few who wished to make a definite attempt to set going the forces of light.
I well remember that night, the evening of 28th November 1916. The foundation meeting was held in a small studio shared between the late Cecil W. Bostock and myself. Cecil Bostock, who was a talented artist in the sphere of commercial art, had taken up pictorial photography as a means of pictorial expression. He was a most versatile personality and proved to be ever a tireless worker in the movement which he had helped to set going. “The Declaration” was designed and produced in his studio and it was forthwith accepted by all members present:
On November 28th of the year 1916 at “The Little Studio” in Phillip Street, there met together by mutual consent, a little band of Photographers, earnest workers, lovers of Art and the Beautiful, who by reason of their love for the Art have constituted an Association, with the advancement of Pictorialism and the closer congenial association of the Pictorial Workers as its objective. Thus it happens that “The Sydney Camera Circle” becomes a concrete thing — and these men have created this.
James E. Paton, Harold Cazneaux, Cecil W. Bostock, James S. Stening, W.S. White, Malcolm Mackinnon.
To all those, who may qualify by merit of their Pictorial Work, this Association extends the hand of welcome.
THE DECLARATION
Duly formed, the Circle* met one evening during every month. Each member pledged himself to bring along his more recent pictorial prints for display and comment.
* It may be of interest to know how the name originated. When the foundation members first met, the question of a name for the proposed association was early discussed. I well remember the six of us as we sat gathered around the little table when the idea came along. “The Circle”, someone said, for we were actually sitting around a table over which the gaslight flickered. And thus, it was that “The Sydney Camera Circle” was so named.
Members also discussed the outlook of other pictorial photographers who were doing good work in the State. If those workers were considered to be eligible, they were duly nominated by two members and subsequently invited to pass the membership test of submitting from six to twelve pictorial prints. At a meeting of the Circle these would be displayed and a vote would be taken and this (a two-thirds majority) would determine the admission of the worker as a member.
The only official position to be held was the office of Hon.Secretary. A chairman would be elected at each monthly meeting, when members were called upon to display their pictorial work and to offer comment. Discussions followed on pictorial questions generally.
The Circle also expected its members to help and assist aspiring pictorial workers in other Societies; this duty has always been loyally supported. Chief interest, of course, centred around the activities and progress of the Photographic Society of New South Wales, which was by way of being the parent body.
From the earliest days social amenities were ever to the front and the older members have many a tale to tell of friendly associations over the inevitable cups of coffee.
Few records can be traced of the Circle’s activities from 1916 to 1921, but it is known that meetings were held monthly and that new members* were enrolled.
A Circle Minutes Book shows the list of Circle members on 9th May 1921, as: J.E. Baton, E.N. Poole, Harold Cazneaux, C.E. Wakeford, S.W. Eutrope, W.S. White, Henri Mallard, C.W. Bostock, Monte Luke, D.J. Webster, A. Ford, K. Ishida, D. Fraser and Mrs. A.J. Milson.
One incident of this time, however, remains in my mind. Owing to “submarine trouble” two, at least, of my regular articles for “Photograms” failed to reach London in time for publication. It was therefore fitting that Cecil Bostock, who was with the A.I.F. abroad, should be able to hand the Editor the news of the formation of the Circle in time for inclusion in “Photograms” for 1917-18. Here is the statement he made: “Out of the stagnation there comes to light a new society in N.S.W., the Sydney Camera Circle. It includes leading pictorial workers in the State (list of members published — H.C.). The feeling had existed for some time that something more progressive and with higher ideals was wanted."
At this point, too, some reference should be made to the Circle’s unique collection of overseas pictorial prints by many famous early pictorial workers. This collection is known as The Tilney Collection, named after its famous donor F.C. Tilney, who is now over eighty years of age and who was a very active pictorial photographer and critic of photography as well as an artist and the publisher of “Art and Reason”. During his active photographic days, he collected many fine pictorial prints and wishing to place these somewhere where they could be really useful, he donated them to the Circle, hoping that they could serve both as a permanent record of pictorial photography of the past and as an inspiration to present-day workers.
Personally, I regard 1921 as a banner year in the Circle’s progress, for it was in that year that its members had gained really substantial recognition in overseas salons and exhibitions, as well as in magazines and annuals. It was during this year, too, that the late Sydney Ure Smith was elected as an Honorary Member, for this fine personality had never failed to extend the hand of true friendship, giving his goodwill practical shape by reproducing some of our best work in his “Art in Australia” publications.
The period “between the wars” was not an idle one for our members. Some of those who served the Circle so well over this period have since passed away. Amongst them — Cecil W. Bostock, W.S. White, James E. Paton, W. Buckle, W.H. Moffitt and Douglas Hill and others. As the records show, we were never behind in submitting our work either overseas or locally.
The advent of World War II meant other and more strenuous tasks for all of us and the Circle “disbanded by mutual consent until such a time in the future that the good work could go forward once again”. Nevertheless, those members who were able to, carried on the good work outside.
As with any other human organization, the Circle has naturally had its “ups and downs”. For instance, at one time there was some division of opinion on the method of electing new members, but the basic pledge has stood the test of time. That ideal of encouraging the production of pictures of merit and sincerity — has never been weakened. To-day the Circle enjoys a substantial influx of new blood* and it confidently looks forward to another thirty-five years of work for the advancement of pictorial photography.
* At the date of publication, the membership roll is as follows: Henri Mallard, Monte Luke FRPS, J.W. Metcalfe, H.N. Jones ARPS, H. Dircks ARPS, J.C, Walton, Laurence Le Guay, ARPS, F.D. Collins, R. Nasmyth, C. Jackson, D. Brown, A. Ford, J.L. Wray ARPS, Norman Deck, K.D. Hastings, C.E. Wakeford, A.W. Gale ARPS, Dr. A.E.F. Chaffer, R.V. Simpson, P. Lawrence ARPS, Keast Burke ARPS and Harold Cazneaux Hon. FRPS and Member, London Salon.
Many of our new workers are young men who may be justly referred to as the modern element in the practice and expression of pictorial photography to-day. The Circle is fully alive to the ever-widening possibilities of modern photography; this important fact is recognized and that recognition means that any possibility of “slipping back into old ruts” will be avoided in the future. New schools of thought, new fashions come and go and we must live, as it were, in the complete circle of the photographic movement with every worker fully free to express himself.
Many decry the traditional pictorial work of the past, but surely it does not deserve all the drastic criticism that has been launched by some “modern-minded” photographers. Indeed, I think that even these radicals will find much to assist and inspire them for their own future work in a study of past achievements.
THE SYDNEY CAMERA CIRCLE
Some Highlights of the First Twenty years
1917
The Photographic Society of New South Wales War Chest Interstate Exhibition
An important show at the Education Dept. Gallery, Sydney, in November 1917. The Circle was represented by prints from C.W. Bostock, H. Cazneaux, A. Ford, H. Mallard, J.E. Paton, E.N. Poole, G.E. Wakeford, W.S. White and S.W. Eutrope. M. Mackinnon and J.S. Stening also showed work. A fine catalog was produced in which ten reproductions on inserts were included.
1919 - 1924
At this stage reference should be made to Mrs. A.J. Milson, the only woman pictorial worker ever elected as a member. About 1918 she appealed to the writer for instruction in pictorial photography. Her subsequent rise to photographic fame was rapid and brilliant, and she was soon represented in the London Salon and Photograms of the Year. Of special historical interest, one picture might be recorded — this was jointly produced by Mrs. Milson and myself. At the end of 1919 Captain Ross Smith and Lieut. Keith Smith landed at Mascot, Sydney, in their ponderous Vickers-Vimy plane, at the conclusion of their famous prize-winning trip from London to Sydney. I was present at this landing with my camera ready for action, but the vast welcoming crowd broke down the barriers and rushed the plane, thereby making any type of planned photography impossible. However, Mrs. Milson was not the type of person to admit photographic defeat, and she later persuaded the famous airmen to re-enact their arrival. Her Graflex pictures were most successful, and were subsequently worked on by myself for exhibition and publication purposes. The resultant photograph, “London to Australia,” was widely shown at this time. In 1923 Mrs. Milson visited London and, with the assistance of Mr. F.J. Mortimer, gathered together a magnificent collection of overseas pictorial photographs. These were subsequently shown in the Kodak Salon, Sydney, the exhibition being opened by the Hon. Mrs. Pitt-Rivers on June 6th, 1924. For personal reasons Mrs. A.J. Milson shortly afterwards gave up photography and resigned from the Circle.
1921
Sydney Camera Circle Members Exhibition
Organized in February 1921 at the invitation of Kodak Ltd., and shown at the Kodak Salon, Sydney, 115 prints being on display for 14 days. Sales totaled £7O, and five new members were elected, including Norman Deck as an Honorary Member (later he had gone to the Solomon Islands as a Missionary). A selection of fifty prints from the above exhibition was subsequently shown in Melbourne by the same firm. Eight members were represented at the 1921 London Salon, while Harold Cazneaux was elected as a Member.
“Art in Australia” (special number) — Domestic Architecture in Australia.
The Editors approached the Circle to handle the photographs of this book planned to illustrate examples of domestic architecture selected by W. Hardy Wilson, artist and architect of note. The Circle nominated J.E. Paton and Harold Cazneaux to take the required photographs in N.S.W., J. Kauffman for Victoria, A. Wilkinson for South Australia, and J. Peat Millar for Queensland, In their introduction, the editors paid tribute to the artistic quality of these photographs.
Scottish Salon, Dundee
Held by the Scottish Photographic Federation. Sixty prints by Camera Circle members were included.
1923
Photographic Society of New South Wales Exhibition
Held in the Exhibition Hall of Farmer & Co. Ltd. in November, 1923. Fourteen Circle members contributed prints.
1924
The First Australian Salon
An International show at Farmer’s Gallery, early in 1924, Organized by the Photographic Society of New South Wales in association with the Circle, which contributed the judges. Work by nine members was shown.
1925
Photographic Society of New South Wales Members Exhibition
Held at Harringtons Ltd. Gallery in June 1925. The work of twelve Circle members was shown.
1926
The Second Australian Salon
Exhibited at the Gallery of Farmer & Co., Sydney, in June 1926. Twelve members are recorded as contributing seventy-one prints. It is with great regret that I note the fact that this was the last Salon of the series; the expense of conducting them proved too great for those concerned. Reference should also be made to the publication of the two volumes of Cameragraphs, by Harringtons Ltd., covering selected pictures from the two Australian Salons. C.W. Bostock designed and edited the publications, which included reviews by the writer.
1927
Photographic Society of New South Wales Members Exhibition
Held at the Kodak Salon, Sydney, in May 1927. Much Circle work was shown as was a large number of prints by Arthur Smith. This noted worker later wrote the review for the A.P.-R. (1927) in which he displayed his unerring pictorial judgment.
1928
The One Man Show of Harold Cazneaux
Held at the Grosvenor Gallery, Sydney, in March 1928. This was an exhibition of 145 prints organized by Sydney Ure Smith, then President of the Society of Artists. He also penned the Introduction to the catalog.
The Fifth San Francisco International Exhibition
At the 1928 showing, the Circle was represented by two exhibitors.
1929
Photographic Society of New South Wales Interstate Exhibition
Held at the Education Department Gallery, Sydney, in the Spring of 1929. The Circle was represented by a panel of work, as was Arthur Smith.
1930
Fourth Kodak International Salon of Photography
Held at the Kodak Salon, Sydney, January 1930. Harold Cazneaux was the judge of this fine International show in which over forty Australian and New Zealand workers were represented. A splendid illustrated catalog was produced.
1931
“Camera Craft” (U.S.A.) — Review of Professional Photography in Australia
The issue for August featured the above article penned by Monte Luke FRPS, together with a portrait of the writer by Dr. Julian Smith. The illustrations represented the work of well-known professionals, but many Circle amateurs were named and praised.
1932
Camera Pictorialists of Los Angeles — 15th International Salon
Held in January 1932. Several members were represented.
“L'Art Photographique Anglais” (Paris)
An important invitation show arranged by F.J. Mortimer. Forty-three panels by well-known Empire pictorialists were shown, to which the Circle contributed two.
Photographic Society of New South Wales Interstate Exhibition
Held at David Jones Ltd. Gallery in September 1932. This exhibition was based on panel groups by local and interstate workers. Circle panels included an outstanding one from the late W.S. White.
1933
Queensland Camera Club 8th International Exhibition
Held in July 1933, this show featured panel groups from The Sydney Camera Circle and from the Photographic Society of New South Wales. Dr. Julian Smith was well represented.
IV Salon Internationale Di Fotografia Artistic Dilettanti (Turino, Italy)
In an exhibition of 487 prints, the writer represented the Circle with six pictures.
(These few references to overseas salon acceptances are recorded as typical. Those interested will find the complete record in the American Annual of Photography tabulations — H.C.).
1934
Fifth Victorian International Salon of Photography, Centenary of Melbourne
Circle members who exhibited were: Arthur Ford, E.B. Hawkes, Harold N. Jones, Peter Lawrence, Monte Luke, Henri Mallard, W.H. Moffitt, R.V. Simpson, S.W. Eutrope, and Harold Cazneaux the latter gaining a silver medal award and subsequently attending the show; at the same time he judged the International Centenary Exhibition of Professional Photography.
1935
“Art in Australia", August Issue
This contained a special section of sixteen full-page reproductions of Circle work, along with a supporting article by the writer.
One-Man Exhibition of Camera Pictures by Monte Luke FRPS.
This was held in his Studio Gallery, Sydney, in September 1935, when an exhibition of 47 prints (mainly bromoils) was displayed.
1936
One-Man Show by Harold Cazneaux
About 60 prints were shown in the Kodak Ltd. Gallery, Adelaide, and afterwards in the same firm’s Gallery in Melbourne.
Camera Club of New York (U.S.A.) Third International Invitation Salon
Held in May 1936—a salon of invitation type in which the Club extended invitations to a limited number of recognized pictorial workers “to present each one a single for exhibition”. Australian workers invited were Dr. Julian Smith, Monte Luke, Harold Cazneaux, and John B. Eaton; also Gerald E. Jones (New Zealand). Thirty-four countries were represented by 212 prints.
October 1952 Page 637 - Australasian Photo-Review
THE SYDNEY CAMERA CIRCLE
AUSTRALIA’S TRIBUTE TO HAROLD CAZNEAUX Hon. FRPS
On October 27, 1952, at the Assembly Hall, Sydney, the The Sydney Camera Circle in association with the Photographic Societies of Australia, is sponsoring an evening of public tribute to this great man of pictorialism in Australia. Circular letters have been issued by joint Hon.Secretary's, Monte Luke FRPS, and H.N. Jones ARPS, to Australia’s one hundred odd societies and early replies have indicated that the occasion is certain to be afforded universal support. Jack Cato FRPS, has agreed to take the Chair and compere the occasion, and there will be a screening of some fifty lantern slides characteristic of Caz’s best known pictorial works. Readers are urged not to miss attendance on this evening which promises to be the most important pictorial photographic occasion the century. The evening will conclude with a color screening.
