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Kyla Mackenzie

New Zealand photographer. Aberhart became a leading photographer in New Zealand from the 1970s with his distinctive 8×10 inch black-and-white photographs, taken with a 19th-century large format Field Camera. He is particularly well known for his images of disappearing cultural history, often melancholic in tone, in New Zealand....

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Robert Smith

He arrived in Melbourne in 1854, where at the age of 16 he became assistant to Henry Beaufoy Merlin (1830–73), photographing views throughout the colony of Victoria, usually of buildings, often with the occupants posed before their façades. After five years they moved to Sydney, then to the goldfields of New South Wales, still concentrating on view pictures. Bayliss specialized in panoramas, and after Merlin’s death, the latter’s erstwhile patron, ...

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William Main

New Zealand photographer. At the age of 34 he travelled to join his younger brother, Walter Burton, who had established a photographic business in Dunedin, New Zealand. Under the name of Burton Bros. they practised photography together until their partnership was dissolved by mutual consent in ...

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Jocelyn Fraillon Gray

Swiss painter, lithographer and photographer, active in Brazil and Australia. He attended a drawing school in Lausanne, where his teacher may have been Marc-Louis Arlaud (1772–1845), and is thought to have spent some time with the landscape painter Camille Flers in Paris c....

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Robert Smith

Australian photographer of Guernsey birth. After his arrival in South Australia c. 1858, he pursued his interest in photography while working as a hairdresser, becoming a professional photographer in Adelaide in 1867. Economic recession led him to move in 1870 to the neighbouring colony of Victoria, where he worked as hairdresser and photographer in the goldfields settlement of Talbot. By ...

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Robert Smith

Australian photographer of New Zealand birth (see fig.). His father, Pierce Mott Cazneau (1849–1928), was an English-born New Zealand photographer, who became manager of a photographic portraiture studio in Adelaide c. 1889 and took his family to South Australia. While still at school Harold Cazneaux assisted his father and in ...

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Robert Smith

Australian photographer and geologist of English birth. In 1852 he withdrew from studies at Christ’s College, Cambridge (1851–2) for health reasons, joined the Australian gold-rush, and spent two unproductive years prospecting in Victoria. The experience inspired an interest in geology, and in 1854...

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Australian, 19th century, male.

Active in the USA 1851-1855.

Born c. 1809, in Newcastle-on-Tyne, England; died 5 October 1891, in Melbourne.

Painter, photographer. Portraits.

Canberra (Nat. Library of Australia): Portrait of an Unknown Man (1879, oil on canvas)

Melbourne (Nat. Gal. of Victoria): ...

Article

David P. Millar

Australian photographer. He worked as an operator in a carte-de-visite business in Sydney. When popularity for this photographic form of portraiture collapsed in the 1870s, he turned to a new and eventually lucrative business: scenic views of rural and urban Australia. Coinciding with the invention of the collodion dry plate process, which gave him more freedom of movement, he used the recently expanded railway system to reach places of photographic interest. By the 1890s his work dominated the photographic view business in Sydney; he had become more of a businessman than a photographer, employing several touring operators to meet his commitments....

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Michael Dunn

English painter and photographer, active also in New Zealand. By profession he was an Anglican minister and school-teacher. An accomplished watercolour painter, he had studied under Aaron Penley (1807–70) at Southampton in 1835–6. His interests in architectural sketching were furthered when he was at Cambridge by his membership of the Camden Society in ...

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Helen Ennis

Photography in Australia has many parallels with that in other countries but it also has many significant differences that are the result of specific historical conditions and circumstances. Features in common include the rapid acceptance of photographic technologies, the importance of portraiture and the view of trade in the 19th century, the engagement with international styles such as Pictorialism, the prominent role of illustrative and advertising photography from the 1920s onwards, and the impact of modernism, Post-modernism, and post-colonialism. These features are not unique to Australia—they can be seen as manifestations of photography’s globalizing impulses—but nonetheless they do have a particular local or national inflection. Equally important are the aspects of Australian photographic practice that are different to photography elsewhere. Chief among these is the photography associated with relations between indigenous and settler Australians. Photographs of Aboriginal people were prominent in the 19th century and photographs by Aboriginal people have been central to Australian photographic practice and the broader visual arts since the early 1980s. Also conspicuous is an orientation towards the external world and the prevalence of realist approaches, which can be related to materialist preoccupations and anti-intellectual traditions that have underpinned national life in some periods....

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John B. Turner

The pattern of development in photography in New Zealand was similar to other colonies in the Victorian era. Progress was slow because of the country’s geographical remoteness and small population. Difficulties of overseas supply and local demand—the very traffic of equipment, materials, ideas, and pictures—have shaped all levels of achievement. Pioneer photographers were participant-observers in the process of nation building who could not but see the world according to the values of their upbringing. For instance, after the wars over land ceased in the 1880s, defeated Maori were imagined as a dying race and their culture was studied with fresh urgency. Maori subjects were common among photographers; the treatments ranging from nostalgic romanticism to abject realism....

Article

Australian painter, printmaker and photographer of French descent. He studied painting at Cambridge House in Hobart, where he won the prize for drawing in 1849. Between 1850 and 1872 he worked as a draughtsman for the Tasmanian Survey Office, receiving additional instruction in art from ...

Article

Janda Gooding

Australian painter, printmaker and curator, who worked mostly in Western Australia. While working in the photographic trade, Pitt Morison studied part time (1881–9) at the National Gallery School in Melbourne. He formed a friendship with the artist Tom Humphrey (1858–1922) and soon after he became associated with, and exhibited with, a group that included Tom Roberts and Arthur Streeton. The group, later known as the Heidelberg school, painted ...