Image March/April 2013 Page 2

The official magazine of the Australian Photographic Society EDITORIAL

Welcome to another edition of Image, the second of this, our all digital era.

We’ve received much member feedback since the last one – some positive, some less so – and my aim is to see that the magazine evolves to re#ect the consensus of that feedback.

Digital publishing gives us great #exibility and capacity for Editor Wade Laube change. Where in days of print, layout, content and Ph 02 8231 6627 timings were almost set in stone, now most things are GPO Box 326 open to negotiation. NSW 2001 [email protected] So the $rst adjustment will be the balance between words Divisional Correspondents: and pictures. As would seem appropriate given its title, A/V Division Peter Ryan Image will begin to place an increasing emphasis on PO Box 1011, Sunnybank Hills, Qld, 4109 photographs and less on words. [email protected] Print Division William Stewart AAPS Management Committee is also presently exploring other 28 Jean St, Kingswood NSW 2747 ways and means of broadening the distribution methods [email protected] of the magazine in line with emerging technologies. Digital Peter Manchester AFIAP AAPS HonFAPS 14 Hilton Pl, Norwood Launceston Tas 7250 But what remains our priority $rst and foremost is a [email protected] Contemporary Kay Mack AAPS HonFAPS commitment to publishing your best work and lots of it. PO Box 535 Templestowe Vic 3106 [email protected] To that end I want to broadcast to everyone a call for Nature Graeme Watson AFIAP FAPS SSAPS submissions to the magazine. We would like to publish as 35 Bertel Cr, Chapman ACT 2611 much of the Society’s best work as is possible and to do [email protected] this we need your contributions. Headquarters: Secretary Stella Fava Macarthur House While the magazine is produced every second month, you Suite 4/8 Melville St, NSW 2150 should feel very welcome to pass on work you are Ph 02 9890 6933 particularly fond of at anytime and I’ll put it aside for an email: [email protected] upcoming edition. President: Paul Bennie FAPS Without members’ submissions we’re not going to get (02) 6555 8003 email: [email protected] very far, so let me thank you all in advance. Registered Office: Mr R Legge SSAPS Wade Laube, Editor 31 Alroy Ct, Hawker ACT 2614 APS Website: www.a-p-s.org.au

© Copyright 2013 All material published herein is copyright. Copyright in all articles and pictures belong to the author of the respective article or picture. Copyright in all other material belongs to the Australian Photographic Society Inc. No part of this publication may be produced whole or in part without the written permission of the copyright owner. The views expressed in this journal are not necessarily those of the Editorial Team or the Australian Photographic Society Inc. IMAGE is a journal approved by FIAP. PRESIDENT’S MESSAGE

Contents Page 1...... Editorial The Society is fortunate to have members of the calibre of Page 2.....President’s Message Wade and his team to guide us through the change of Image from being a printed version delivered by post to an electronic publication. Page 3...... An Audiovisual

We are all aware that this is the way that publications are now Enthusiast’s Pro!le going and this is evident in our local newspapers and our Page 3...... Audiovisuals: books and magazines. Alive & Kicking APS Management is dealing with these developments to bring in Camberwell the latest delivery service to our members and of course an organisation of the size of APS cannot afford to be left behind. Page 5-10...How Tasmanians

Whilst this is not without its problems and negative impact on in"uenced Australian some members there are also many bene$ts such as the ability photography - Part Two to vary the number of pages in each and include a greater Page 11-17...... number of quality images. Folio

Whilst the younger members are quick to pick up the latest Page 18...... Luminescence electronic gadget, they do not have a great deal of appreciation of how far it has come in the last to 10 to 20 years and therefore have little perception of where it will be in the next 10 to 20.

Just as the cameras and methods involved in communication of today were unheard of 20 years ago, the changes over the next 20 years will be even greater and management is working towards providing APS with a structure that can adapt and bene$t from the evolving opportunities.

It is truly an exciting time to be a part of it.

Paul Bennie FAPS, President

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Cover: Where to From Here, by Warren Stone. An Audiovisual Enthusiast's Pro#le of the most difficult tasks is coming up with the By Ruth Burleigh topic/theme for an AV. Once you have that then it’s a matter of creating the images and $nding What does photography mean to me? Well my the right music. When I see some of the family comes $rst always, but then my wonderful AVs produced I think I have so much photography takes up all of my time. to learn and will probably never get really Photography has always played a huge role in my pro$cient at it. But this doesn’t really matter to life, my whole income came from photography me – what matters is that I enjoy the journey of prior to retirement $rstly as a staff photographer learning another new skill. for the local newspaper then running my own small business doing portrait and wedding photography. Audiovisuals: Alive & Kicking in Camberwell A pro"le of the very active and successful I joined the Warragul Camera Club over 22 years Camberwell Camera Club Audiovisual Group by its ago and it takes up a major part of my life and I founding Convenor, Ruth Goldwasser. thoroughly enjoy it. I strongly believe you only get out of something what you put into it and In 2004, Peter Manchester crossed the Bass Strait camera club is no exception to that, therefore (the other ditch) to do a presentation of his work wherever I can, I get involved, whether it’s on in Melbourne, which I attended. Never having seen this type of work before, I was hooked on committee or running workshops etc., I love the AVs from the start. challenge of preparing images for monthly competitions. This inspired the formation of the Camberwell Camera Club Audiovisual Group with its My introduction to AV’s came about by necessity inaugural meeting held in February 2007. Linda really, when clients were asking for DVD’s of their and Edgar Gibbs from the UK, who I met at the weddings. These early presentations were very Adelaide AV Fest a month later, kindly consented basic, simply images to music. It wasn’t long to be our $rst guest speakers. before I was searching for ways to improve my presentations. I had been a member of the Audiovisual Club of South Australia for some time, having made We formed an AV group within our club and good friends and contacts whilst attending worked together to create AV’s to enter into the Adelaide AV International Festivals, and wanted VAPS 3.21 competition. This was great as we were to join a similar group closer to home. Not being able to help each other. I realised from these successful, I decided to start an AV group at Camberwell Camera Club. workshops how little I knew about the making of AV’s so I began to question everyone I knew I like encouraging camera club members to about them. We invited Barbara Butler, chairman create AVs from their images. I feel it is a of the AV folio, down to one of our club wonderful way to share photos, as a good AV workshops and she showed us some of the takes the slideshow to another dimension by International AV’s, that was it – I was hooked. truly engaging the audience.

I love doing them or I should say trying to do The CCC Club AV Group meets regularly, covering them. It’s a steep learning curve. I am using aspects of the art and techniques of AV creation. Proshow Producer. I transferred my print folio to Over the years we have viewed some of the best the AV folio hoping I would learn more and I AVs created worldwid e , e i t h e r s e n t from international festivals or from presentations have. Everyone has been very helpful. I think one shared with us b y individual a w a r d

Page 3 winning producers, including David Wilcox, Ron of favourite audiovisual presentations as well as Davies, Carol and Dave Gillow, Maureen and photographic techniques. Or perhaps go Robert Albright, Peter Coles and Ricardo Zarate directly to the CCC AV Group site at amongst others. Barb Butler, the APS AV Division www.youtube.com/cccavg with our members’ Chair, was our guest speaker at our February AVs, a playlist of amazing audiovisuals and meeting. audiovisual techniques.

Nowadays I organise activities and meetings, I keep adding to these lists for the bene$t of manage our YouTube site and write information camera club AV producers. for our club’s webpage, newsletter and emails. The members in our group are very supportive Last year we produced our $rst group and we are becoming a voice for AVs in our club. presentation ‘Flavours of the Market’ which you can $nd on our gallery at http:// Again this year I will be attending the Adelaide camberwellcameraclub.org.au/2012/03/11/ AV Fest on 13 to 17 March and look forward to it gallery-audio-visual-group/. very much, viewing the judging and attending the AV and Sound Workshop by Suzanne and Howard Gregory from the UK. Having now attended many local, national and international audiovisual meetings, I enjoy sharing information gleaned from these events with o u r photographic club members.

You are welcome visit my personal website at www.youtube.com/fotoandfun with its playlists

A photo from the showing of Ron Davies' work in my home. Photograph by Anna Janiak. Page 4 How Tasmanians in$uenced Australian for each eye, seen through a speci$cally created photography - Part Two viewer to give a 3D effect to the image). This By Anne O’Conner technique and the collodiotypes that came This piece continues from the last edition. around the same time period, was the beginning of the end of daguerreotypes and by 1855, they Moving on were deemed technically dead. In December 1853 in , the $rst lecture on collotype processes was to the Royal Society of That same year saw the opening of a gallery in . Previously all information about Hobart by two photographers John Sharp (w photographic processes was in the written word. 1855-1865) and Frederic Frith (1819-1971) who called it the Chromotype gallery. Chromotype 1854 also saw the $rst lecture by John Rae to the was a process of producing direct positive prints Sydney School of Arts on the history of onto paper. They were made by using chromium photography and the technical aspects of its salts as the sensitive ingredient. In colonial processes. This included the collodion and terminology, particularly in Hobart during the collotype processes. Collotype was used by 1850s, the term was used to describe olive to several Australian book and postcard publishers liquorice coloured paper prints, especially for photographic reproduction. This process, coloured ones. using a glass or metal plate saw the plate coated with gumbichromated gelatine and then Sharp & Frith, together with Alfred Bock, son of exposed under the negative. The gelatine would Thomas, who was also working in Hobart at the harden in proportion to the amount of light time, and another photographer by the name of exposure and the plate would be developed to Dowling used these processes to create early form a relief image with warm water. This relief semi-matt albumen prints that could be over- image was inked and could be used to print ink painted in watercolours. This art form was images on paper. particularly conducive to landscape photography and was the beginning of the $rst notable sale of Beginning in the early 1890s, it continued up to “views” to the public. Sharp & Frith also produced the time of the First World War. With these two the $rst public panorama of Hobart around this processes, it was deemed that the easier process same period using collodion was best used by amateur photographers and the more complicated More change collotype process was best kept for professionals. 1858 saw the expansion of professional studio These thoughts and this lecture were the work, stereographic views and the growth of beginning of the amateur photographer’s amateurs. By the mid 1860s most states had movement in Australia. panoramas and views for sale and a few gifted amateurs were at work creating personal albums. Around 1854, stereoscopic photography came to Stereographic views and the stereo camera Australia. In 1855, Thomas Glaister from New York allowed for ease of travel and recording places came to Sydney and set up a studio using these away from home. The views were also easy to techniques. He claimed to have introduced post and print. They became the amateur’s friend. stereoscopic daguerreotypes to Australia. By It was foreseeable that the stereo camera 1858 he was well established in this medium and became a popular household item. was recognized as a master in the art. From the late 1850s to 1870s mosaics became The stereoscopic technique saw the creation and proli$c. It was common to see banners of more use of stereo cards (double images on a card, one than 1000 small portraits of people put together

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Page 6 FOR MORE TOUR INFORMATION// www.udesignphototours.com.au onto paper as a single very large image to Government Geologist for Northern Queensland. represent events or places where people Richard used his skills to combine imagery with gathered for a speci$c reason. However there geology by using photographs to illustrate his was little value in this for the photographer other reports. The geology work took him many places, than for personal advertising but it started the often to remote areas in Queensland in his search use of commissions for engaging the for gold and minerals. Many of his hours were photographer to record events. Government spent each day taking images. His intent was to contract for views for major exhibitions became create a large body of views of the North East of popular and increased in the mid 1860s. The Queensland. In the process, Daintree became a photographic terms of “views” and “likenesses” passionate advocate for the development of the changed. Photographers began advertising North of Australia by using images to promote officially as landscape and portrait workers. life in Queensland. Charles Nettleton from Melbourne became the most accomplished landscape photographer in Daintree’s technical innovations are acknowledged by the various cameras and the mid 1870s. processes he used over the many years he Urban landscapes and panoramas became pursued his craft. Some of these were standard popular, with architectural photography having plate, stereoscopic, Sutton panoramic cameras, its beginnings around this time. Charles Pickering hand coloured prints as well as positive and from Sydney became a master in architectural transmission views on glass. The energy he spent work, not for sale but for making presentations to on making his images more appealing supported Government offices and politicians. Around the his views that photography could be used for same time private albums became a work of art promotion and public communication. Daintree in their own right and there were many elaborate was the innovator behind the use of images for ones being created and sold. It was also the start advertising and promoting Australia as a way of of using photographic prints to illustrate books life. with the use of a portrait of the writer on the Beginnings of Wilderness Photography front covers. Charles Walter, originally from Germany In 1864 the sennotype image was developed. specialised in landscape work in Victoria. He This was the creation of two identical prints, one started the practice of “going bush” around the on top of the other with the top one waxed and late 1800s, exploring places not visited by the bottom one often hand coloured, Australians and bringing back images for public sandwiched together under glass. The effect was viewing. He was probably the $rst photographer to produce a greater range of tones, much to explore the wilderness and use the images for blacker shadows and steady graduation of the promotion of unique and beautiful places that mid-tones. Alfred Bock of Hobart took up this were Australian. It was also the $rst stages of process and became known as a master of the developing tourism in Australia, but was not technique. successful due to the difficulty of getting people to the places identi$ed. Further explorations Photography as a promotion of Australia followed around the Colony and Australia A photographer and geologist, Richard Daintree opened up her visual splendours to the general moved to Queensland in 1864 to try life on a public through imagery. Across the continent pastoral property. This did not suit him so he England was preparing for her $rst expedition to returned to geology, ending up as the the Antarctic. The official journalist that

Page 7 accompanied them to record the process was In the early 1900s Frank Hurley (1885-1962) Louis Bernacchi (1876-1942) from Hobart. His dominated the history of photographic report of the trip was one of the $rst printed involvement in Antarctic expeditions, following publications illustrated with reasonable Antarctic on from Bernacchi’s $rst efforts. He used glass photographs. plates and cinematography and was probably one of the $rst recognised documentary To follow on from Walter, John Beattie, a Scottish photographers of this period. born photographer who came to live in Tasmania with his parents, dedicated his expertise to the As well as Antarctica, Hurley was the official $rst recordings of the history of Tasmania as well photographer for the First World War (1914– as the promotion of the scenic wonders of the 1918) and became known World Wide for his own island. Beattie created images of areas not individual graphic style. He returned to the visited by the public and would often go into the battle$elds to repeat the experience in the wilderness for days at a time, coming back with Second World War (1939-1942). Hurley basically his record of the scenery seen by his eyes. took over and expanded the role Banjo Paterson had started in the African Boer War many years After 1896 Beattie became official photographer earlier. to the Tasmanian Government and was instrumental in beginning to use photographs to Photographic Societies promote the preservation of the environment in The $rst formal photographic society formed in Tasmania which was taken up in later years by Melbourne in 1860. Others followed but most the Wilderness Society of Tasmania and other faded out or had little impact. Between 1885 and wilderness photographers. In particular two the early 1900s amateur societies formed in most most prominent Tasmanian wilderness of the main cities then moved into regional and photographers of the twentieth century - Olegas suburban areas. The Northern Tasmanian Truhanas and Peter Drombovskis, both dying in Camera Club or NTCC as it was known began in the wilderness they loved doing their Launceston in 1889 and still is very active today. photography. Much can be said about their lives One of the leading amateurs in the NTCC was and their work, but the most important point was Frank Styant Browne (1874-1951), a chemist. In the induction of Peter Drombovskis into the Australian Hall of Fame for his photography. He 1896 he and Harold Masters (1874-1951) made the $rst X-Ray photos in Australia and in 1897 was the $rst photographer to ever receive this Styant Browne was one of the earliest honour in Australia. demonstrators for colour photography in The expansion of press photography Australia. Press photography did not grow as a medium until around the 1880s and 1890s but it was not The largest collection of amateur photographers in Australia was based in Sydney, with Tasmania until the 1900s that press photographers were not far behind. Women photographers joined the sent out as correspondents to record and amateurs to stand alongside their professional illustrate events. counterparts who had been active since the A.B. Paterson (1864-1941) or Banjo as he was 1800s. Societies began to hold club competitions, known, was the $rst Australian to be despatched then exhibitions and $nally inter-colonial to the Boer war in Africa (1899-1902) as the exhibitions. In 1894 NTCC held the $rst inter- Sydney Mail’s official photographer and colonial competition, followed by Geelong with journalist. the second in 1895. These gatherings were the

Page 8 beginnings of many that were to come and his father’s photographic studio and was actually opened up the links between in#uenced heavily towards the changes in photographers from others areas of Australia. pictorial imagery by the South Australian Following on from that, the 1900s saw the start of Photographic Society’s pictorial exhibition of “one person shows” of images or solo exhibitions 1902-1903 and the impressionist style of as they are now called. imagery. He moved to Sydney in 1904 and joined the Photographic Society, International beginnings making his name with impressionistic images of After 1901 the South Australian Photographic Sydney. The one act that gave him pre-eminence Society expanded their activities to include within the pictorialist sector of Sydney international exhibitions in their repertoire. This photographers was his “one man show” made up group of amateurs were taking the lead in of a collection of seventy-six carbon and bromide pictorial photography within Australia. In 1903 prints, which included portraiture and his the New South Wales Society took the lead from impressionistic views of Sydney. South Australia, hosting a large international salon. Cazneaux was also known for his architectural imagery of the construction of the Sydney Moving on – The rise of ‘fuzzy wuzzy’ Harbour Bridge which was the beginning of the photography photographic recording of such events. Silver Bromide Gelatin Coated papers were introduced around the 1890s and a generation of Modernism photographers and painters could claim the The 1930s saw the beginning of modernism in status of being Australian born. This period was photography. Max Dupain (1911-1992) a Sydney the beginning of experimentation with imagery, photographer was one of the leading utilising techniques such as soft focus and photographers in this movement. impressionistic style, believing that all images did Dupain came from the ranks of the New South not need to be sharp. These techniques were Wales Photographic Society and moved into the carried out initially by the amateur group and professional trade as a young adult. He was a they began to be known as the “fuzzy wuzzy” radical photographer in his time by recording photographers as they were breaking away from the traditionally known professional ideas. Along architecture never before recorded. A comment was made about this new style: “once a man with these concepts, many experimented with photographed a room, now he takes the keyhole light and began to control the tones. Some and makes an enlargement of it” (F.J. Mortimer explored suppression of detail in their images, around 1932). Modernism suited the needs of believing that to tell the story they did not need to include everything. The professional commercial advertising. Photo-essays were born and photography took on a new life. This was the photographers soon followed the amateurs with beginning of recording the plight of the socially their developing techniques. Around this same disadvantaged. What would now be called ‘social period electric lighting and #ash powders were documentary”. In 1936 Life Magazine from developed, which made low light images much easier to handle. America began and was the icing on the cake to lead photography into the new age with the One of the most in#uential photographers in the documentary style. Cazneaux was slightly “fuzzy wuzzy” age was Harold Cazneaux in#uenced by these new trends with some (1878-1953). He grew up in Adelaide, working in changes to his picture style; however he did not

Page 9 go as far as Dupain, preferring to maintain his industry, architecture, science, advertising and images closer to the traditional pictorialist recording of life from the beginning to end. It is movement. simply there. We open our eyes and we see but how often do we think about seeing. Now in Professional changes many ways photography is the same. Its use is 1947 saw the start of a Professional Association invisible; it just belongs like it should. for photographers in Sydney. It was called the Institute of Professional Photographers. The (Ref. Shades of Light, book by Gael Newton 1988 1950s saw the start of commercial advertising Australian National Gallery) and illustration work which became a major Web: http://www.photo-web.com.au/ income source for professional photographers. shadeso#ight Fees for photographers increased, studios came National Gallery web address: http://nga.gov.au into their own and the introduction of colour transparencies and strobe lighting occurred in the 1960s and colour negatives followed ten years later. Photography was now into the twentieth century and was fully established as a commercial enterprise. It was here to stay for the professionals and also for the amateurs.

Summary From its beginnings with daguerreotype images in the early 1800s, photography has come a long way. Many more photographers than those mentioned have had their in#uence on the changes and become recognised for their skills and art forms. Many more are still to come.

In#uenced heavily by the expanding world and technology, the art and business of photography has moved into a huge industry that is still changing. Thought processes in relation to photography have also changed. Originally photography was seen as a science with the photographic process and the technology being the art. Around the end of the nineteenth century there was recognition that the art was more than just the technology. Instead it was the photographer’s skill in the creation of the image. So science went out of the picture and the human input took the photographer into a different world – they became creators of art.

Photography opened people’s eyes and brought the world closer. It is used in all aspects of life - forensic, medicine, tourism, exploration, law,

Page 10 Folio

ABOVE: New Year on the Gold Coast by Peter Taggert.

BELOW: Trunks at Nudgee by Daryl James.

Page 11 ABOVE: Nature’s Necklace by Hans Schmidt BELOW: Mobile Home by Suellen Cook.

Page 12 LEFT: Crab Apples by Leanne Sali. BELOW: Chooks at Dawn by Phil Moir.

Page 13 ABOVE: Crazy Horse by Joseph Tam.

Page 14 PREVIOUS PAGE, TOP: Fungi by Terry Gooley PREVIOUS PAGE, BOTTOM: Snow at Jungfrau by Palli Gajree.

BELOW: Cessnock Barrel Race No. 4 by John Newton

ABOVE: Huck Finn and Friends by Andy Smylie. BELOW: Great Thinker by Sharon Alston.

Page 15 Luminescence By Barb Smith

As I work from home, every room in my house has a dual function. My lounge room, for instance, has been furnished for entertaining visitors, sitting in the sun to read and listening to music. However its huge #oor-to-ceiling windows, which face west, north and east, also make it ideal for a natural light photographic studio.

For this project, I've turned my camera on the room itself and redirected the window light at different times of day to highlight interesting details. The resulting collection of fragmented impressions now suggest, not so much a place for drinking coffee, as a mysterious and fantastical space where all sorts of stories might emerge.

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