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SHADES OF LIGHT

Based on text from the original book: Shades of Light: Photography and Australia 1839-1988
Gael Newton, 1988 Australian National Gallery

Chapter 8 Footnotes

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See Margaret E. Harker, The Linked Ring: The Secession in Photography 1892-1910 (London: Heinemann, 1979), p.147. This entry does not mention Barnett's Australian career. Barnett photographs are held by the Victoria and Albert Museum, London and the Harry Ransom Humanities Research Centre, Austin, Texas.
Jack Cato, The Story of the Camera in Australia (Melbourne: Georgian House, 1955), p.90. See also Cato's description of Barnett in his autobiography, I Can Take It: the Autobiography of a Photographer (Melbourne: Georgian House, 1947), pp.73-7.
Reproduced in Roy Flukinger, The Formative Decades: Photography in Great Britain 1839-1920 (Austin, Texas, University of Texas Press, 1985), p.145. Jack Cato made a series of similar character studies in Hobart in 1924, one of which is reproduced in Gael Newton, Silver and Grey: FiftyYears of Australian Photography 1900-1950 (Sydney: Angus and Robertson, 1980).
Brooks Thornley's The quarrel c.1896, is reproduced in Leigh Astbury, City Bushmen: The Heidelberg School and the Rural Mythology (Melbourne: Oxford University Press, 1985), p.33. This photograph and others are held by the La Trobe Library, Melbourne.
Taylor's image is analysed by Nicholas Peterson, 'The Reality of the Message: The Native Tracker'ms for a projected publication by Fiona Stewart and Gywn Prins eds., The Colonial Viewfinder (Yale: Yale University Press in association with the Royal Anthropological Institute, London). Ms. held by the author, Australian National University, Canberra.
Held by the BHP Company archives, Melbourne, showing the works at Broken Hill, New South Wales. Pierce may be J. D. Pierce listed in Sandy Barrie, Professional Photographers in Australia, 1910-1920 (Brisbane: Macintosh Press, 1987), as having a studio in Terang, Victoria 1903-7.
See Julie K. Brown, 'Versions of Reality: The Production and Function of Photographs in Colonial Queensland 1880-1900', Ph.D. Thesis, History Department, University of Queensland, Brisbane, 1984, p.223. A copy of the album is held by the Royal Historical Society of Queensland, Brisbane, A. 40.
Barbara Hall and Jenni Mather's, Australian Women Photographers 1840-1960 (Melbourne: Greenhouse, 1986) includes a general history of women in Australian photography as well as profiles of outstanding individuals. See also Julie K. Brown, 'Versions of Reality: The Production and Function of Photographs in Colonial Queensland 1880-1900', op. cit., for names of Queensland women photographers and data on female studio workers.
Tilbrook is mentioned in R. J. Noye, Clare: A District History (Adelaide: Investigator Press, 1974), p.212. Noye also holds a collection of Tilbrook's photographs.
A large collection of Ernest Docker's stereographs is held by the Mitchell Library, Sydney). See also M.E.A.: pp. 106-7, for further information and a reproduction of his work.
The Fryer Library, University of Queensland, Brisbane holds a large collection of photographs collected or taken by Hume dating from the 1870s to the 1920s. The changing printing papers used in the Hume album in themselves show a history of the medium. Contact sheets of many of the photographs are held by the Australian National Gallery, Canberra.
A collection of Allen's photographs is held by the Mitchell Library, State Library of NSW, Sydney and several images are reproduced in Fixed in Time: Photographs From Another Australia 1900-1939 (Sydney: John Fairfax and Sons, 1985).
Styant Browne photographs are held by the Queen Victoria Museum and Art Gallery, Launceston and are included in a series of albums of the Northern Tasmanian Camera Club (c.1890s-1920) held by the Northern Regional Library, Launceston. See also Rhonda Hamilton, Man and Rivers: A Photographic Exhibition (Launceston: Queen Victoria Museum and Art Gallery, 1985) for reproductions and information on Styant Browne and A. H. Masters and other Tasmanian amateur photographers c.1880s to 1930. See also Chris Long, 'Index to Photographers Working in Tasmania 1840-1940', ms. held by the author (to be published by the Australian National Gallery, 1988).
See Appendix for Styant Browne's experiments with colour photography
The predominance of eastern States studios in photohistories reflects the greater production of views in the most populated centres, but also the predominance of photohistorical publications in Sydney and Melbourne from the 1940s onwards. Regional histories by a number of people in other States are in progress and will change the picture of Australian photography as a whole. For an account of the writings of photohistorians Jack Cato and Keast Burke see Gael Newton, 'A Story of the Story: Correspondence between Jack Cato and Keast Burke 1948-1956', Photofile (Autumn 1986): pp.5-9.
For accounts of Beattie see Jack Cato, The Story of the Camera in Australia (Melbourne: Georgian House, 1955. Reprinted Australian Institute of Photographers, 1977), pp.80-7 and Cato's, I Can Take It: The Autobiography of a Photographer, op. cit., chs. 2-4. Manuscripts by Cato referring to Beattie are also listed in Ian Cosier 'Jack Cato 1889-1971' B.A. Thesis, Fine Arts Department, University of Melbourne, 1980. Copy held in the Australian National Gallery, Canberra.
A recent monograph (chiefly illustrations) is Margaret Tassell and David Wood, John Watt Beattie, Tasmanian Photographer From thejohn Watt Beattie Collection. (South Melbourne: Macmillan, 1981.)
Some other contenders for the earliest users of dry plates are Stephen Spurling II (1847-1924) in Tasmania, see Chris Long, 'Index to Photographers Working in Tasmania 1840-1940', op. cit., and J. W. Lindt in Melbourne, see Shar Jones, J. W Lindt: Master Photographer (Melbourne: Currey O'Neill Ross for the Library Council of Victoria, 1985). Phillip Marchant of Adelaide was the first to manufacture dry plates for sale, see M.E.A.: p.54 in 1881.
Lecture c.1907, following Beattie's first visit to the Gordon River quoted in Chris Long, 'Index to Photographers Working in Tasmania 1840-1940', op. cit.
David P. Millar in his Charles Kerry's Federation Australia (Sydney: David Ell, 1981) provides a biography of Kerry and the evolution of the studio as well as a context for the images in Victorian empiricist philosophy.
Ibid., p.15. Nicholas Caire's work also gained a wide currency at the turn of the century from his postcard production. In addition Caire's work was used for the Victorian State government postcard issued in 1908 and for the Commonwealth Post Office cards in 1911. Caire maintained a high profile until the advent of World War One through reproductions in the illustrated papers (often of images dating back to the 1880s): The Leader in Melbourne used his images for their Christmas supplements of 1897, 1889, 1901-02, 1904, 1908 and 1911, and the Weekly Times for theirs from 1903-06, The Australasian also regularly featured Caire's scenic views from 1906-17. Information from David P. Millar's monograph on Caire, ms. held by the author, Sydney,
The introduction of staff photographers in the illustrated papers is covered in A Century of Journalism: The Sydney Morning Herald and its Record of Australian Life 1831-1931 (Sydney: John Fairfax and Sons, 1931), pp.676-87. Bell is also praised in that company's recent publication of photographs from their archives and those of the Mitchell Library, Sydney, Fixed in Time: Photographs from another Australia 1900-1939 (Sydney: John Fairfax and Sons, 1985), pp. 7-10.
See David P. Millar Charles Kerry's Federation Australia, op. cit., for further information on Kerry's chief operators.
lbid.,pp.15,23.
A large collection of Vaniman's panoramas is held by the Dixson Library, State Library of New South Wales, Sydney. Despite a comment by Jack Cato in The Story of the Camera in Australia, op. cit., p. 160, that a vast number of copies of the panorama from a balloon were sold, only one copy in the Dixson collection was located, and this lacks the drama and quality of his other works. Cato's account was drawn from 'American Photographer's Impression of New South Wales', New South Wales Railway Budget (2 May 1904): p.212, an extract of which was printed as 'Mr Vaniman and his Balloon Pictures', A.P.-R. (May 1904): pp.162-3.
The earliest balloon ascents in Australia were in Melbourne in 1858 and the earliest photographs from balloons could have been taken in the 1870s. Aerial photography was established by World War One (see chap. 10, n. 19).
Panoramic photography has enjoyed a revival in recent years, especially by photographers in Sydney; Phil Quirk qv., Mark Lang and Phil Grey.
Biographical notes on King by descendant Richard King can be found in Henry King (1855-1923): Colonial Photographer (Sydney: Josef Lebovic Gallery, 1985).
Julie K. Brown 'Versions of Reality: The Production and Function of Photographs in Colonial Queensland 1880-1900', op. cit., is the most thorough study of the regional history of the medium in these years. Sandie Barrie in Queensland and R. J. Noye in South Australia as well as Anne Pheloung in Western Australia are engaged on histories of photography in these States.

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