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Chapter 6 Footnotes

'The Application of the Talbotype, The Art-Union, I July 1846, p. 195.

In 1846, S.T. Gill accompanied the expedition led by John Horrocks into the South Australian desert. Ludwig Becker (c.1808-1861) perished as a result of the trials he endured as official artist of the Burke and Wills expedition seeking to cross the continent from north to south in 1861. W.C. Piguenit accompanied James Reid Scott on expeditions in Tasmaniain 1811 and 1873. By this time Piguenit had taken up photography as an aid to his painting. For a discussion of these expeditions see Tim Bonyhady, Images in Opposition: Australian Landscape Painting 1801-1890 (Melbourne: Oxford University Press, 1985), pp.60-3.

See unsourced reference in Russell Braddon's Thomas Baines and the North Australian Expedition (Sydney: William Collins in association with the Royal Geographical Society, London, 1986), p.38. It seems there was a member of the expedition familiar with photography. Rev. W.B. Clarke expressed his regret 'that two of the party (in case of the artist's death) had not been familiar with the use of the photographic apparatus', quoted in J.H.L. Cumpston, ed., Augustus Gregory and the Inland Sea (Canberra: Roebuck Society, 1972), p. 2 1. Baines was not the photographer in question - although he later took part in expeditions in Africa, on which photographs were taken, and considered taking lessons himself in 1860. See Dr A.D. Bensusan, Silver Images: A History of Photography in Africa (Cape Town, South Africa: Howard Timmins, 1966), pp.25-8. Baines' sketches and diary entries refer to the difficulties of wet collodion photography on expeditions, especially due to the lack of water,

'The Exploration of the Interior', Sydney Magazine of Science and Art, I (1858-1859): pp.97-8.

The Mitchell Library holds ambrotype portraits of both Burke and Wills; mins. 50 and D179 no.1. Explorers were natural subjects for portraits. Samuel Clifford in Hobart sold cartes-de-visite of a reenactment of the deaths of the two men (examples held Abbot Album, Crowther Library, Hobart). For a discussion of graphic records and interpretations, see Rodiger Joppien, 'The Iconography of the Burke and Wills Expedition in Australian Art', in Peter Quatermaine ed. Readings in Australian Arts: Papers from the 1976 Exeter Symposium (Exeter: Exeter University, 1978) pp.49-61. Explorers had been photographed since the daguerreotype era, but the lack of photographs of the Burke and Wills expedition is puzzling given the response to events by graphic artists. Action scenes or large group portraits were difficult in 1860, but not impossible. Townsend Duryea for example, photographed forty congregational ministers at a meeting in Adelaide in 1861 (see South Australian Advertiser, 26 April 186 1).

On his return to Germany, Blandowski employed Gustav Muetzel to make a series of natural history paintings from his original graphic and photographic material. The latter were in turn published in the form of a photographic album in 1862. See Thomas Darrah 'William Blandowski' in: Joan Kerr ed. Dictionary of Australian Painters, Photographers and Engravers, Working Paper I A-H 1783-1870 (Sydney: Power Institute of Fine Arts, University ofSydney, 1984). See also R. T M. Prescott, Collections of a Century (Melbourne: National Museum of Victoria, 1954), p. 10.

Ferdinand Von Hochstetter, for example, from the Imperial Austrian world scientific survey aboard the Novara, requested the services of a photographer for a Government geological survey of the north island of New Zealand in 1859. Photographer Bruno Hamel's work was credited and used as the basis for illustration in Hochstetter's book, New Zealand: its Physical Geography, Geology and Natural History (1863), revised edn transl. Edward Sauter (Stuttgart: J.G. Cotta, 1867). Hamel also published an album of his photographs from the trip, now held by the Alexander Turnbull Library, National Library of New Zealand, Wellington).
For the philosophical impact of geology on photography, see Christopher Titterington, 'Lewellyn and Instantaneity', The Victoria and Albert Album 4, periodical section, pp. 139-45.

The Alexander Turnbull Library, National Library of New Zealand, holds an album Photographs: Illustrative of Victorian Geology taken by Mr Richard Daintree, late Field Geologist and Mr Charles Wilkinson, Field Geologist. Printed at the Public Land Office by J. Noone and Mr Charles Wilkinson.

For a discussion of Daintree and the character and differences between Australian exploration narratives, geological studies and photography see Paul Carter's 'Invisible journeys: Exploration and Photography' in Paul Foss, ed., Island in the Stream, A Critical History of Australian Criticism. (Sydney: Pluto Press, projected publication, 1988.)

Daintree's use of a 'dry' preservative on his Queensland journeys, and the enlargement of these negatives by the autotype process, is referred to in the Philadelphia International Exhibition Official Catalogue of British and Colonial Section, 1876, p.388.

Daintree has long been recognised as a significant and exemplary nineteenth-century photographer See G.C. Bolton, Richard Daintree, A Photographic Memoir (Canberra: Jacaranda Press in association with the Australian National University Press, 1965), and Peter Quartermaine's pioneering articles including 'The Lost Perspective, Australian Photography in the Nineteenth Century', in the volume edited by him Readings in Australian Arts (Exeter, England: University of Exeter, 1978), pp. 1- 15.

See Peter Quartermaine, 'International Exhibitions and Emigration: The Photographic Enterprise of Richard Daintree, Agent-General for Queensland 1872-1876', Journal of Australian Studies, 13, (1983): pp.40-55. Daintree began exhibiting in 1862 at local and international exhibitions. See Diane Reilly and Jennifer Carew, Sun Pictures: The Fauchery-Daintree Collection 1858 (Melbourne: Currey O'Neil Ross Ply Ltd, for the Library Council of Victoria, 1983) p. 19. The prints coloured by George Gilbert carry labels printed with the date 1859, suggesting an earlier start. Daintree's emigration booklets were published in London c, 1872 by Sawyer and Bird.

The Oxley Library, Brisbane, holds a number of similar painted enlargements in gold frames. Another handcoloured print of Bush travellers is held by the Queensland Museum. See Ian Sanker, Queensland in the 1860s: The Photography of Richard Daintree (Brisbane: Queensland Museum Booklet no. 10, 1977).

See entry on Manet's painting in F.Cachin, C.S. Moffett and M. Melot, Manet 1832-1883 (New York: Metropolitan Museum of Art and Harry N. Abrams, 1983): pp. 165-8.

'Photography in Australia', The Photographic News, 7, nos 260-1 (28 August and 4 September 1863): pp.412-13, 425-6.

Notes in a letter from Morton Allport to his brother are held by the Allport Library and Museum of Fine Arts, Hobart. See paper by Catherine Snowden ms. op. cit., ch.4, n.36 for details of photographers such as John Smith who used 'dry' processes, and the latter's particular value for scientific and expedition work.

From the 1890s on, Hobart photographer J.W. Beattie sold large numbers of prints of Nixon's negatives (now lost), together with portraits of full-blood Tasmanian Aboriginals taken by Charles A. Woolley in 1866. Some Nixon photographs, possibly original prints, are in the Abbott album at the Crowther Library, Hobart, and others are in the Bishop Samuel Wilberforce album in the National Portrait Gallery, London, and the Pitt Rivers Museum, Oxford.

For an account of the partnership andjourney see Cole Turnley, Cole of the Book Arcade: A Pictorial Biography of E.W Cole (Melbourne: Cole Publications, 1974), pp.21-9. Taplin later used photographs to illustrate his books on customs of the South Australian Aboriginals. For details, see Robert Holden, Photography in Colonial Australia: The Mechanical Eye and the Illustrated Book (Sydney: Horden House; in publication for 1988).

South Australian Register, 9 and 10 June 1862. These reports credit Burnell as the photographer, although the partners' wagon was painted with the sign 'Cole and Burnell'.

The Art Gallery of South Australia holds a complete set, no.805 HP70.

Illustrated Australian News, 31 December 1873, p.212.

Australasian Sketcher, 18 April 1874, p.9,

'Falls on the Niagara Creek, Mount 'Torbeck', Illustrated Australian News, 27 October 1866, p.8. Other accounts of Walter's travels are given in the News of I I April and 12 June 1869, The MrWalter referredto here might also be Carl Walter (18311907), a botanical collector listed in Ray Desmond, British and Irish Botanists and Horticulturalists (London: 1977).

Information cited by Bill Gaskins in ms. entry on Walter prepared for Joan Kerr ed. Dictionary ofAustralian Artists, op. cit. See advertisement in Illustrated Australian News, 29 January 1869.

E.B. Docker reported on the Eclipse expedition to the British Journal of Photography (2 February and 28 March 1872): pp.55, 152-3, in his capacity as Australian correspondent to the journal. This was not the first attempt at astronomical photography. Thomas Glaister had tried to photograph an eclipse in 1868.

This may be Joseph Turner of Geelong (q.v.). The annual reports of the Melbourne Observatory record Joseph Turner's appointment on 10 February 1873 with a reputation as ,an excellent photographer'. An account of the introducton of photography to the Melbourne Observatory can be found in a report by E.J. White included in the appendix of the Philadelphia Centennial International Exhibition Victorian Commissioners' Report 1875, p.225. Examples of Ellery and Turner's moon photographs are held by the Mount Stromlo and Siding Springs Observatory, Canberra, and the Australian National Gallery. These prints were widely exhibited and earned the praise of Warren De La Rue, see 'Lunar Photography at Vienna' British Journal of Photography (28 November 1873): pp.568-9, and locally of visiting English photographer Nelson K. Cherrill, who settled in New Zealand. See 'Photography in Melbourne', The Photographic News (I December 1876): p.572.

Ellery claimed to have made the first photograph of a Southern Hemisphere nebula (stars were far more difficult to photograph than planets) soon after the introduction of dry plates in 1883. See 'Photographic Charting of the Heavens', The Australasian Critic, I August 1891, p.260. A. Panekoek in his History of Astronomy (London: George Allen and Unwin, 1961), p.475, implies that Russell had started taking photographs of the Milky Way, as early as 1869. He was certainly highly successful in the 1890s with his photographs of the Milky Way, claiming them as the first of their kind in the Southern Hemisphere. Russell's book of original photographs, Photographs of the MilkyWay & Nubeculae taken at Sydney Observatory, 1890 [18911 is discussed in Robert Holden, Photography in Colonial Australia, op. cit. A copy is held by the Australian National Gallery. The first photograph of a nebula was taken in 1880 by Prof. Henry Draper. See Gail Buckland, First Photographs, (New York: Macmillan, 1980) p. 166.

Reproduced in Col Stringer The Way it Was: A Photo History of the Northern Territory (Darwin: Eagle Publications, 1977), and Jack Cato, The Story of the Camera in Australia (Melbourne: Georgian House, 1955), between pp.96-7.

Examples held by the Australian National Gallery and the Mortlock Library, Adelaide, nos 134655, 9763, 1150, 9874 and 1159911604.

For accounts of Sweet, see Philip Pike and Julian Moore, Captain Sweet's Adelaide (Adelaide: Longwood Media, 1983); Jack Cato, The Story of the Camera in Australia (Melbourne: Georgian House, 1955), pp. 109- 10; Garry McDougall, 'Captain Sweet: Northern Territory Images', Photofile 2, no.4 (Summer 1984); and E. Robertson, 'Capt. Sweet -an Early S.A. Photographer', A.P.-R. (December 1950): pp.739-42,

See Peter Taylor, An End to Silence: The Building of the Overland Telegraph from Darwin to Adelaide (Sydney: Methuen 1980).

Luigi D'Albertis, New Guinea: "at I Did and What I Saw, I (London: Sampson, Low, Marston, Searle and Rivington 1880), p.377. References to D'Albertis' difficulties in taking photographs in the Tropics are discussed on pp. 141-2.

D'Albertis also photographed Aboriginals and departed the colony with a copy of Lindt's portfolio. Lindt's career is dealt with in Sharjonesj. W. Lindt:Master Photographer (Melbourne: Currey O*Neil Ross, on behalf of the Library Council of Victoria, 1985).

See Keith F. Davis, Disiri Charnay: Expeditionary Photographer (Albuquerque, New Mexico, University of New Mexico Press, 198 1), pp. 22-4, 143, 146-50. A number of foreign anthropologists took or collected photographs in Australia, among whom were Anna Vickers, Richard Semon, Edouart Marcet, Amalie Dietrich. 'Printed Books Illustrated with photographs: from Ferguson's Bibliography of Australia (1784-1900)' in Biblionews (March, 1984): pp. 14-17.

See Jack Cato, The Story of the Camera in Australia op. cit., pp. 110-12 and The Photography of PaulFoelsche Centenary Exhibition Darwin 1970 (Clare, S.A.: Northern Aryus, 1970). Sub-collector of Customs, Alfred Searcy, used a number of photographs by Foelsche and other Northern Territory photographers in his publications at the turn of the century, e.g., In Australian Tropics (London: Kegan Paul, Trench, Tubner & Co., 1907). Foelsche may have had lessons from Captain Sweet c. 1872. Foelsche became an expert on Aboriginal customs, though his photographs tended to follow the anthropometric, physiognomydominated style increasingly adopted by anthropologists. Robert Cremer appears to be the first professional to have worked in the Territory when he set up his studio in Darwin in 1897.

See British Journal of Photography, (31 January 1873), p.57. The N.C.O. was supplied with equipment by William De Abney (1843-1920), according to this report on the expedition.

A large collection of photographs from the expedition is held in a private collection in Australia.

These photographs were taken by the ship's surgeon. See F.A. Cook, Through the First Antarctic Night, 1898-99 (London: William Heinemann, 1900), and ExpiditionAntarctique Belge Reports scientifiques, 1897-8, S.Y. Belgica (Brussels, Anvers: Buschmann, 1903-04). For an account of Antarctic exploration, see R. Swan, Australia in the Antarctic; Interest, Activity and Endeavour (Melbourne: Melbourne University Press, 196 1), which contains some illustrations from early voyages.

See Louis Bernacchi, To the South Polar Regions: The Expeditions 1898-1900 (London: Hurst and Blackett, 1901).

Reproduced in Jack Cato, The Story of the Camera in Australia, op. cit., between pp.32-3. My own account of the Holtermann Exposition is taken from Keast Burke, Gold and Silver: Photographs of Australian Goldfields from the Holtermann Collection (Ringwood, Victoria: Penguin, 1973), op. cit., and Isobel Crombie, The Holtermann Panorama: Sydney in 1875 [exhibition brochure] (Canberra: Australian National Gallery, 1985).

New South Wales had not had a display at the Vienna International Exhibition, whereas Victoria and Queensland had been well represented. The latter was the work of Daintree. See Merlin's article in the Town and Country journal (27 September 1873), quoted in Keast Burke, Gold and Silver op. cit., pp,46-7.

E.B. Docker described the proposal for the Exposition to the British journal of Photography (17 November 1873), p.537. It is unlikely that the carte-de-visite portraits taken by the A & A Co in Hill End and Gulgong were intended to be a part of the Exposition, though their extensive reproduction in Keast Burke's monograph on Holtermann's collection might suggest it. A set of albums from the Exposition held in a private collection in Sydney are mainly larger views.
There was a considerable gap between the ability and desire of nineteenth-century photographers in documenting the darker side of life on the goldfields. In 1872, the year photographs were taken by the A &A Co, the winter was very wet, resulting in the flooding of cess pools, dysentery and high infant mortality. (Of 129 deaths, in a population of approximately 8000, 74 were children.) See Harry Hodge, Hill End Story 3 (Adamstown Heights, NSW, 1964), p.173. Carte-de-visite portraits showing the miners and their families would perhaps have been too raw a picture of life on the fields. The negatives are, however, part of Holtermann's collection but may have come to him on Merlin's death.

Evening News [Sydney], 22 October 1875, reprinted in British Journal of Photography (4 February1876): p.56 and in Keast Burke, Gold and Silver, op. cit., p.24. The newspaper gave all credit as photographer to Holtermann, who was active as an amateur photographer and whose diary (held by the Australian National Gallery and concerning production of the 978 centimetre panorama) indicates he was an equal partner with Bayliss on the technical production of the panoramas. The panoramas were sold as 'Holtermann's Views'. However, Holtermann's family photographs, often stereographs, are poorer in quality.

British Journal of Photography, (7 July 1876): p.322.

A claim made by Holtermann in the Evening News and confirmed by Beaumont Newhall, The History of Photography from 1839 to the Present Day, rev. edn (London: Seeker and Warburg, 1964). The giant panorama consisted of two negatives 96.5 by 159.8 centimetres and another two of only 137.0 centimetres in width, The next largest, on 45.7 by 55.8 centimetre plates, was used for the 978.6 centimetre panorama. The negatives are held by the Mitchell Library, Sydney. No vintage print copy of the giant panorama is known. Bayliss' obituary mentioned that some of the panoramas had been acquired by a museum in Germany.

British Journal of Photography, (18 February 1876): pp.78-9. Stratham was a fellow of the Royal Geographical Society, London.

'The Centennial Exhibition at Philadelphia', British Journal of Photography (30 June 1876): p,309. However this observation may be an exaggeration or misprint.

It seems that Holtermann's Germam birth was held against him. Se Burke, Gold and Silver, op cit pp.30-1. Docker's first reports cited Holtermann's expenditure as 15,000 pounds, the second pounds, and Keast Burke, opp cit p.24, cites his outlay as 1000 pounds (possibly for the panoramas alone). This does not include the cost of his travels. The failure o Holtermann Exposition exhibits to win a gold medal may be explained by Dr Hermann Vogel's wry comment on a lack of tonal quality he perceived in the Australian exhibits. The producers of the latter could spend a small part of the gold for chloride of gold (toning) for the purpose of the production of photographs'. Journal of Photography(28 July 1876): pp.357-8.

The social and philosophica ground to the Grose Vall pedition has been dealt iA Catherine Snowden, 'The Away Image: Photographi Blue Mountains in the Nini Century', in Peter Stanbury Lydia Bushell, eds, The Blue Mountains: Grand Adventure for All: The Macleay Museum University of Sydney, pp. 128-44, and is also the subject a lengthier appraisal in Bill Gaskin's thesis on the relationship b painting and photography nineteenth-century Australia Ph,D. Thesis for Murdoch
sity, Perth. See also Paul Fox, Influence of Romanticism Colonial Encounter with the Bush, 1870-1914', ms. of a paper delivered at the Architectural Historians of Australia conference Melbourne University, May 1896, for an account of the way in which city gentlemen's holidays parodied expeditions proper.

Du Faur, who was chief draughtsman in the Office of the Occupation of Crown Lands, was a member ofthe geographical and arts section of the Royal Society and of the Royal Geographical Society, as being Secretary of the Academy of Art and a trustee of the New South Wales Art Gallery fund. He, active in organising and fun for several expeditions. See Australian Dictionary of Biography (Melbourne: Melbourne University Press, 1966-1981, 1982):

Bischoff had been a part of H.C. Russell's team observing the Transit of Venus at Woodford in the Blue Mountains the year before. Du Faur was also involved in this team, and their acquaintance may have started there. Nothing is known of Bischoff's previous career - or why he was chosen in preference to better known local photographers such as Charles Bayliss. Most camp participants paid their own expenses but Bischoff was paid 42 pounds - a considerable sum - to attend (information from Du Faur notebooks, Mitchell Library, Sydney, courtesy Bill Gaskins).

For a discussion of Piguenit's unique role as a wilderness painter in the 1870s see Tim Bonyhady 'The Wilderness Intact', Images in Opposition: Australian Landscape Painting 1801-1890 op. cit.

Sydney Morning Herald, 11 November 1875. Du Faur had made previous attempts to interest artists and photographers in trips into the Blue Mountains. See note 55 below.

E.B. Docker attended the camps for a short period in October. See 'The Scenery of the Blue Mountains; N.S.W.' British Journal of Photography (30 June 1876): pp.309-10; (7 July 1876): pp.317-18; and (17 July 1876): pp.321-3. Docker was also unimpressed by the artistic quality of Bischoff and Brodie's work. He did form an association with J.W. Lindt - who also attended, but seems not to have taken photographs. Lindt did not send Blue Mountains photographs to the Philadelphia Centennial, but his Grafton views attracted Hermann Vogel's attention (see his review in the British Journal of Photography (26 July 1876): p.358. Docker had frequently complained of the lack of artistic quality in Australian work in his report. Interestingly, he was however impressed by New Zealand photographer Daniel Mundy whose fine book of photographs, Rotomohana and the Boiling Springs of New Zealand (London: Sampson and Low, 1875, held by Mitchell Library) does indeed have a quality of classic monumentality which eluded the Blue Mountains expeditionaries. See British Journal of Photography (7 November 1873): p.537. The problems were partly technical - Docker reports on Lindt's efforts to get Bischoff to give more exposure to the negatives, British Journal of Photography (7 July 1876).
Accounts by participants in the Grose Valley expedition were also published in the Sydney Morning Herald, 4 and 7 October 1875, and in the Town and Country journal of 15 January 1876.

See Sydney Morning Herald, 11 and 12 November 1875, for reports of the conversazione of 10 November held at the Academy of Art and attended by some 120 people.

For an account of this group, see Weston J. Naef, Era of Exploration: The Rise of Landscape Photography in the American West 1860-1885 (New York: Albright-Knox Art Gallery and the Metropolitan Museum of Art, 1975).
Timothy H. O'Sullivan (c. 18401882), Eadweard Muybridge (1830-1904), Charles Weed (w. 1859-1875), William Henry Jackson (1843-1942), A.J. Russell (1830-1902) and Carleton Watkins (1829-1916) were very much a generation as can be seen in their birth and death dates,

Bischoff's negatives were acquired by the New South Wales Government Printing Office and prints from these are common. They are uncredited, and are identified only by the inscription 'Grose Valley'. An album containing the suite of pictures from the expedition, with detailed inscriptions, is held by the La Trobe Library. W.C. Piguenit was as unsuccessful as Bischoff; he exhibited watercolours at Philadelphia and made a few oil paintings but none of these approached the drama of the works on which his reputation rested.

In Sydney in 1872 a Mr Batchelder exhibited a 'Colossean Pantascope' panorama of a voyage from New York to Sydney during which 'a diversion is made ... to visit the celebrated Yosemite Valley where every natural object is on the most colossal scale' extract from Freeman's journal (28 September 1872). See Keast Burke, Newsreel in 1862: The Grand Moving Diorama of the Victorian Exploring Expedition (Sydney: ADFaS [Australian Documentary Facsimile Society], 1966), appendix 11. Professor John Smith had also made the journey across America on the new Union Pacific Railway in 1871-72 before joining up with a Cooks Tour of Europe. His records and impressions were published in 1876 as 'A Holiday Tour Around The World', Wayfaring Notes, second series (Aberdeen: A. Brown & Co., 1876). Smith's journeys, and his knowledge of the American West, are further detailed in Catherine Snowden's paper on Smith for the 'Scientific Sydney' seminar op. cit., (ch.4, n. 36). A set of albums from the US War Department containing many large prints from the American West photographers was donated at the turn of the century to the La Trobe Library and has only recently been rediscovered.
Many travel albums contain prints by these photographers - usually small in scale, or stereograph in format. Whether or not Australians had any real familiarity with the drama and quality of the American mammoth plate prints is less clear, although they were well aware of the drama of the American landscape itself. Articles on the transcontinental railway were quite often published in the illustrated papers, although the woodcut illustrations did nothing to reveal the monumentality of the landscape. See Illustrated Sydney News 10, no.2 (2 August 1873): pp.8, 13; 7, no.90 (7 August 1871): pp.128-9; and 'Sketches on a Californian Mail Route' (30 January 1874).

Railway Guide to New South Wales (Sydney: Thomas Richards: Government Printer, 1879. The first edition was illustrated with photolithographs. Later editions were even more copiously illustrated. None of Bischoff's photographs were used.

David Liddle's Blue Mountains Wilderness (Leura, New South Wales: Second Back Row Press, 1987) includes images of the valley depths.

For an account of the Centennial, see Eugene N. Ostroff's introduction in Robert C. Post, ed., 18 76: A Centennial Exhibition (Washington: National Museum of History and Technology, Smithsonian Institution, 1976), pp. 149-5 1. The photography hall was vast. The American exhibits occupied 60 per cent of the space. The Americans were particularly noted for their large-scale photographs, made either by enlargement as carbons or using solar camera work. Landscape photographer William Henry Jackson showed glass transparencies up to 71.1 by 91.4 centimetres. This was the first time photography had been separated from the categories of art and industry.

See Sydney Morning Herald 9 February 1885. Queen Victoria's copy was bound in satin. Queen Victoria and Prince Albert were influential patrons of photography. See Elizabeth Heyert, The Glass House Years: Victorian Portrait Photography 1839-1870 (London: George Prior, 1979), pp, 7 8-8 1. A history of the Government Printing Office, The Government Printing Department, New South Wales. Historical and Descriptive Notes for the period ending 31 December 1880 ... (Sydney: Thomas Richards, New South Wales Government Printer 188 1), p. 32, notes that prints from the Office archives 'are supplied to distinguished visitors and others, on proper occasions'.

Robert Holden, 'Australia's Photographically Illustrated Masterpiece' entry on the New Guinea album in his ms. for Photography in Colonial Australia: The Mechanical Eye and the Illustrated Book, op. cit. (n. 18 above).

Attributed by Catherine Snowden, from a receipt, to Dyer in the Australian Archives Office, Sydney, found during the course of her research into the New South Wales Government Printing Office. There are also stylistic similarities between the New Guinea album photographs and those by Dyer in J.J. Spruson ed. Norfolk Island: Outline of its History from 1788-1884 (Sydney: Thomas Richards, New South Wales Government Printer, 1885).

Preface to Narrative of the Expedition of the Australian Squadron to the South-East Coast of New Guinea, October to December 1884 (Sydney: Thomas Richards, New South Wales Government Printer, 1885).

Photocopies of two letters of 9 and 27 December 1884 from William Dailey to James Erskine, are attached to a copy of the New Guinea album in the National Library of Australia (album no,440b). These show Dalley's role in having the album published. Dalley lavishly praised Erskine's account of his 'historical voyage', and declared; 'Heaven gave you the opportunity of proving to the savage what the power he had seen displayed meant for his peace and security'.

Charles E. Lyne, An Account of the Establishment of the British Protectorate over the Southern Shores of New Guinea (London: Sampson, Low, Marston, Searle and Rivington, 1885), p.125,

One set of Lindt's albums of New Guinea are held by the Australian National Gallery, Canberra, and a large body of material by the La Trobe Library, State Library of Victoria, Melbourne. For information on Lindt's trip to New Guinea see also Shar Jones' J. W. Lindt Master Photographer (Melbourne: Currey O'Neill Ross on behalf of the Library Council of Victoria, 1985), pp.11-13.

J.W. Lindt, Picturesque New Guinea (London: Longmans, 1887). A group of carbon print enlargements around 102 by 90 centimetres are held by the Museum of Victoria in the anthropology department.

John Thomson, China and its People in Early Photographs: An Unabridged Reprint of the classic work 1873-84 (New York: Dover, 1982). Lady Brassey Tahiti: a series of photographs taken by Col. Stuart Wartley. (London: Sampson, Low, Marston, Searle and Rivington, 1882).

The review by Blamire Young in the Argus I I February 1909 refers to the Albert Street Galleries, the premises of the Victorian Artists Association. However, from the catalogues of the Association Lindt did not hold an exhibition there in 1909.

Centennial International Exhibition, Melbourne 1888-1889, Official Record (Melbourne: Sands and McDougall for the Commissioners, 1890), p.715.

A set of photographs of this expedition by George Bell and Henry Langford, were placed in the copyright office in London (no.1/382), see Public Record Office listing in Alan Davies 'The Location and Identification of Australian Photographs, Particularly from the Nineteenth Century, in British Collections' 1986 Churchill Fellowship Report, held by the Winston Churchill Memorial Trust, Churchill House, Canberra. A copy of which is also held by the Mitchell Library, State Library of New South Wales, Sydney. George Bell returned to New Guinea in 1890, hired by the New South Wales Government to take photographs on the 'Victory' expedition.

See Alfred H. Burton, The Camera in the Coral Islands: A Series of Photographs Illustrating the Scenery and Mode olf Life in the Fiji's, Navigator Islands (Samoa), Friendly Islands (Tonga): New Zealand through the Camera ... (Dunedin: Burton Bros., c.1885).

Lindt made further trips to the New Hebrides in 1892. Charles Kerry and Henry King of Sydney also stocked large selections of island views, The latter were probably bought from photographers in the islands. John Paine (1834-1920?) of Sydney also sold views of the ceremonies for the proclamation of the Protectorate of 1884 under his studio label. The photographs had been taken by a member of the expedition.

Kevin S. Inglis in his The Rehearsal: Australians at War in the Sudan 1885 (Sydney: Rigby, 1985) reproduces many photographs associated with the Sudan War contingent and details the social and political background to these events.

Ibid, p.144.

Copies of the album titled New South Wales Royal Commission: Conservation of Water. Scenery on the Darling River and Lower Murray During the Flood of 1886 are held by the Art Gallery of New South Wales, Sydney and the National Library of Australia, Canberra.

Gilbert Parker, Round the compass in Australia (London: Hutchinson, 1892) Parker did not use any of Bayliss' photographs. By the 1890s photomechanical reproduction by the halftone process was established and the gelatin dry plate of the 1880s had enabled photographers to at tempt more dramatic action-filled photographs. However, the 'modern' pithy character of journalism in the period really called for the kind of dramatic eye-catching photographs, such as a later generation of photojournalists provided in the 1920s and was perhaps an important stimulus to new approaches to photographic illustration.

The picture of the bullock teams is reproduced on the cover of Charles Bayliss (1850-1897), exhibition catalogue from Josef Lebovic Gallery, Sydney, 23 March-27 April 1984.

J. Thomson, 'Exploration with the Camera', British Journal of Photography (12june 1885): pp.372-3.This was not Dr John Thomson of the 'Rattlesnake' expedition (see Chapter 2, n.58) but was probably John Thomson author of China and its Peoples (see n.70 above). It seems photography was not applied to explorations as readily or as well as Thomson would have wished. His later article, 'Photography and Exploration'in Proceedingsof theRoyal Geographical Society, new monthly series, vol.13, November 1891, p.669, expressed a certain impatience; 'I know of no reason why photography should not find favour with the pioneer whose object is to map out a new route and to picture to the scientific world at home ... what he has observed during his travels.' Quoted by Robert Holden in his commentary on exploration photography, Photography in Colonial Australia .... op. cit.

Ayers Rock was apparently little photographed in the nineteenth century, and indeed only became a national symbol for white Australians after the 1960s when it was no longer necessary to have a permit to enter the territory in which it stands, previously reserved for Aboriginals. The earliest extant photographs of Ayers Rock were made during the Horn expedition of 1894 (see no.85 below). Views of Ayers Rock c. 1900 by Richard T. Maurice, (see n.92 below) are held by the Mortlock Library, State Library of South Australia, Adelaide

For an account of the expedition's problems see K. Peake-jones, 'The Elder Scientific Exploration Expedition, 1891; A Study of Incompatibles', Proceedings of the Royal Geographical Society of Australasia (South Australian Branch), vol.85, (1985 Centenary issue): pp.54-67. The sponsor, Sir Thomas Elder, directed that photographs from the expedition be printed and bound by the Society for presentation to members and other organisations. See Society minute book 2 May 1892. The Royal Geographical Society of Australasia (S.A. Branch), Adelaide, holds the volumes and a related portfolio of thirty-six loose photographs of Aboriginals.

Original prints from the Horn Expedition are held by the Royal Geographical Society of Australasia (S.A. Branch) and the Australian Academy of Science in Canberra. Photographs were also published in the official report of the expedition edited by Baldwin Spencer (including the earliest known published image of Ayers Rock). See Report on the Work of the Horn Scientific Expedition to Central Australia. Part I (London: Dular, and Melbourne: Mullen and Slade, 1896), pl.7 opposite p.85. Spencer comments on the difficulties of photographing on the expedition on p.80.

Baldwin Spencer and F.J. Gillen, The Native Tribes of Central Australia (London: Macmillan, 1899). By contemporary standards the illustrations in this book are not outstanding. A finer appreciation of Spencer's work can be found in The Aboriginal Photographs of Baldwin Spencer selected and annotated by Geoffrey Walker, edited by Ron Vanderwal (Melbourne: Currey O'Neill on behalf of the National Museum of Victoria Council, 1982).

For a full account of Baldwin Spencer's photographic activity see D.J. Mulvaney and J.H. Calaby, 'So Much that is New': Baldwin Spencer 1860-1929, a Biography (Melbourne: Melbourne University Press, 1985) especially pp. 196-7.

See David R. Moore, The Torres Strait Collection of A.C. Haddon: A Descriptive Catalogue (London: British Museum Publications, 1984).

See D.J. Mulvaney and J.H. Calaby, 'So Much that is New': Baldwin Spencer 1860-1929, op. cit.; esp. pp.217-18.

William Saville-Kent, The Naturalist in Australia (London: Chapman and Hall, 1897).

William Saville-Kent, The Great Barrier Reef its Products and Potentialities (London: Riddle and Couchman 1893). In the preface Saville-Kent expressed the hope that the fine illustrations would 'assist materially towards demonstrating the capabilities of photography'.

The Mortlock Library, State Library of South Australia, Adelaide, holds a collection of Maurice's photographs.

See Chapter 11 for a discussion of artists' discovery of the desert regions as a subject. Anthropologists continued to make use of photography after the turn of the century. Donald Thompson (1901-1970) and C.P. Mountford (1890-1977) in particular appear to have been genuinely interested in the medium. See Donald Thompson, Children of the Wilderness (Melbourne: Currey O'Neill Ross, 1983). Shades of Light has focussed on the pioneer generations in the area of applied photography. Much anthropological material exists in negative form.