2This writer has found only one reference to an Australian invention of photographic technology : the 'Osborne process' described in Cato, Jack The story of the camera (Georgian House, Melbourne, 1955) page 127. This technology which pioneered photolithography was invented in Australia but it's commercial exploitation took place in U.S.A..

Heinz Buddemeier Das Foto Geschichte und theorie eines neuen urteils (Rowolt, Hamburg, 1981) pp 46-47 (translation from the German by the writer).

Leiptziger Stadtsanzeiger (d.i. Max Dauthendey), 'Des Teufels Kuenste' in Wolfgang Kemp Theorie der Fotografie I 1839-1912,(Schirmer/Mosel GmbH, Munich 1980) pp. 68-70 (translation from the German by the writer).

Loc.cit.

Unfortunately this photograph appears to have been lost or destroyed.

Willis, Anne-Marie, Picturing Australia. A History of Photography.(Angus and Robertson, North Ryde, 1988)page 7.

Newton, Gael Shades of Light. Photography and Australia 1839-1988(William Collins, Sydney, 1988)page 174 note 11.

Gisele Freund refers to newspaper accounts that describe Parisians lugging apparatus weighing a hundredweight about the streets of Paris in search of subject matter for their experiments. Freund, Gisele Fotografie und Gesellschaft Translated from the French by Dietrich Leube(Rowohlt Taschenbuch Verlag G.mbH. Hamburg, 1979)page 33.

Camera construction wasimproved quite considerably between 1839 and 1840. Consequently the device became finally relatively transportable.

The Kodak Museum's publication: The Story of Popular Photography (Century Hutchinson London,1989) pp. 17-18 , describes how photography arrived in America by way of a Daguerreotype manual which was used by D.W.Seager and Morse to build a camera and duplicate Daguerre's process successfully by autumn 1839.

In 1839 exposure times were still 15 minutes in full sunlight. This was reduced to 2 or 3 minutes by 1841 and, in 1842, exposures as short as forty seconds were possible. Freund, page 33.

Daguerrian studios had already opened from the latter part of 1839 in Europe and America. Australia was thus lagging some two years behind.

Davies, Alan and Stanbury, Peter, The mechanical eye in Australia. Photography 1841-1900(Oxford University Press, Melbourne 1985) page 8.

Ibid, see plate on page 123

according to Dr George F.J.Bergman article : 'George Baron Goodman, First Professional Photographer in Australia' Australian Jewish Historical Society, May 1973: 'Goodman took several thousand daguerreotypes during his four and a half years in the colonies 'Davies and Stanbury, op.cit., page 8(footnote 10).

The initial 'One guinea' fee was soon eroded by competition to 3 shillings and the camera equipment itself was advertised in the Illustrated Sydney News on Sep 16th 1854 by Woolcott and Clarke as follows : 'The price of the apparatus , in accordance with the size of the pictures desired , as under No.1 Complete whole size Daguerreotype apparatus, for taking views 9x7, and portraits 8 x 6, with the compound achromatic lens, suitable for any process, snugly packed in a portable case, with bottles for chemicals &c. Price 27 guineas. No.2 Complete half size ditto, ditto, price 16 guineas,No.3 Complete quarter ditto, ditto, price 10 guineas'.

While the writer has not encountered any research that describes the evolution of the now accepted distinction between amateur and professional , an advertisement by Mr. Lyne Brown in the 1855 Waugh and Cox 'Directory of Sydney' features the line: 'Amateurs Taught'.(the ad is re-printed in Davies and Stanbury op.cit., page 139).Brown had left from England in 1854 and it is likely that he had adopted the use of the concept of 'amateur' there. The term 'professional' was however not used in any of the studio advertising at this time. The first reference to 'professionals' appears to be in an advert by Goode's photographic rooms in the 'Adelaide Almanac and Directory for South Australia' (reprinted in Davies and Stanbury, op.cit., page 177) where 'B.Goode begs to inform Professionals, Amateurs and others that he has now the largest stock of photographic goods in Adelaide'.

Gisele Freud states that 95% of the 30 million photographs produced in America between 1840 and 1860 were portraits. Freund, op.cit.,page 34.

Davies and Stanbury, op.cit., page 20.

The Sydney Morning Herald criticised George Baron Goodman's work on the 4 th of May 1845 as giving the subjects a 'cadaverous and unearthly appearance', ibid, page 8.

'Salted paper' gained it's name from the fact that it had to pass through a salt solution before exposure. The Talbotype or calotype as the process is sometimes called was first introduced to Sydney in 1850 by William Hetzer and seems to have only lasted until 1860. Essentially the talbotype process used a paper negative in the camera which could be , after processing made into a positive print by contact printing. It was replaced by the 'wet' and later the 'dry glass plate negative'. Both these could be enlarged. 0The professional photographers often charged an extra fee for each additional sitter. George Goodman is described as unusually mercenary because he demanded an extra guinea for each additional sitter. Davies and Stanbury, op.cit.,page 20. Amateurs on the other hand often assembled groups for portraits.

Loisa How appears to have been somewhat ahead of her time as the amateur practice of photography by women prior to the 1890's war quite rare. Barbara Hall and Jenny Mather Australian Woman Photographers 1840-1960(Greenhouse, Melbourne 1987),page 2. Hall and Maher describe the difficulties for women to assert themselves as amateur photographers during the early years but highlight that at least 15 women worked as professional photographers in Australia between 1850 and 1870. A little of the prevailing conditions of the time can be gleaned from a well meaning but highly chauvinistic article by Mathew Surface on photography's suitability as a hobby for women during the 1890's which was published by The Australian Photographic Journal, 20 April 1897: 'As an incentive to take them out of doors, photography is of unquestionable value to girls (who rarely get the amount of physical exercise they ought to do), and prevents too much of that constant stooping at needlework, a hobby ridden to excess by so many....Not so gymnastic as tennis nor so stupid as croquet, the camera hobby carries in it's train the active promotion of health .and likewise provides an outlet for the dormant artistic tendencies locked up in the minds of so many women Davies and Stanbury, ibid, page 98.

The Calotype process was not used commercially in Australia. 0The collodian wet-plate process required a great deal of technical ability. A glass-plate used for the creation of a negative was coated with a solution of iodised collodian and then dipped into a solution of silver nitrate. The plate had to be wet during exposure in the camera and then developed and fixed before the surface could harden. For outdoor photography this meant that the photographer was burdened with colossal amount of equipment including camera, tripod, lenses, boxes of plate-glass, bottles of chemicals, scales and weights, a darkroom tent and often barrels of water. Wagons were sometimes converted into darkrooms and had the advantage over the darkroom tent that the equipment did not have to be unloaded and set-up for every photograph. The equipment was fragile and great care had to be taken to avoid breakages, especially during journeys into the Australian bush. 0The excellent archival properties of these prints have ensured the survival of a considerable quantity of photographs from this period.

An indefinite number of prints could be made from wet-plate negatives and for this albumen paper was commonly used. Two major applications of the collodion process included the carte-de-visite and the stereograph. The paper was coated with albumen from the whites of eggs containing salt and sensitised before use with silver salts. Printing was done in the studio or home darkroom and the photograph was usually toned with chloride & gold. 0The gelatin dry-plate process was invented by Richard Maddox in 1871. The process, an early version of the silver gelatin emulsions of today, involved the coating of glass plates with a gelatine mixture which held in suspension fine, light sensitive, particles of silver salts. Cato describes Thomas Baker of Melbourne as the first supplier of dry plates in the colony in 1884. Cato, op.cit., page 62. 0Davies and Stanbury, op.cit., page 64. 0The gold-rush during the 1850's unearthed as much as half a tonne of gold per week. This attracted thousands of fortune seekers to the Victorian and New South Wales, many of whom were ex-convicts. The successful prospectors could go from 'rags to riches' literally overnight and this period changed the balance of power directly by success on the goldfields but also indirectly by spawning a new prosperous service industry middle-class and also by attracting traditional labourers away from steady employment on farms in Victoria, New South Wales and Queensland. Robert Hughes The Fatal Shore (Pan Books, London 1988)pp. 561-573. 0By the 1850's anti convict sentiments ran high in the colony. The mayor, aldermen and citizens of Melbourne petitioned the Queen in February 1852: 'The unlimited influx of manumitted convicts from Van Diemens land is an intolerable grievance calculated rapidly to the affections of your majesties dutiful subjects..' ibid., page 566. In answer to the silence from Balmoral and Downing street, the newly formed Legislative council in Victoria proclaimed the 'convicts prevention act' in September 1852. It meant that anyone coming to Victoria from Van Diemens land had now to proof that he was unconditionally free. This law discriminated against holders of conditional pardons who , by law, were allowed to go anywhere within the Australian colonies, so long as they did not go back to England. 0On the 16th of May 1896 The Queenslander published an article about this camera which also states their rate of manufacture as 700 per day. see: Davies and Stanbury, page 247. 0This was also assisted by the faster emulsion speeds of gelatine dry plates which in turn permitted faster shutter speeds. 0The Amateur photographer, October 4 , 1910 page 340 01/6 per Roll of 12 (A new and pre-loaded camera cost 21 shillings). 0Quoted by Janet Malcolm in Diana and Nikon, Essays on the Aesthetic of Photography, (David Godine, Boston 1980), page 116. 0The cartoonist Livingston Hopkins(Hop) illustrated amateur photographers at work in a sardonic series of cartoons entitled: Amateur Photography.-A Few Hints published by the Bulletin on November 22, 1884. The cartoon is reprinted in Davies and Stanbury, op.cit., page 223. 0See illustrations in Davies and Stanbury, ibid, pages 191 and 255, for examples of Sydney Punch and Sydney Mail cartoons ridiculing the early paparazzi style photographers. The craze of 'bicycling' emerged at roughly the same time as 'kodaking' which began in 1896 . A number of camera manufacturers even promoted their cameras as bicycle companions. The outcome of this combination of mobility and portable camera equipment was a broadening of subject matter and a seeming omnipresence of the camera particularly in urban areas. 0Pierre Bourdieu's 1965 text 'Un art moyen: essai sur les usages sociaux de la photographie'( which was later reprinted in the English language edition Photography. A Middle-Brow Art, (Polity Press, 1990) foreshadows this official interest in the family album. Since this time a number of projects in Australia and abroad have aimed at re-photographing family albums to make them part of a national archive- and social history. Notable amongst these is the project launched by Euan McGillivray and Chris McConville under the auspices of the Museum of Victoria which culminated in the the Chris McConville authored text Mum and Dad made History, (Museum of Victoria, 1988). 0The Leica 35mm camera was introduced to the general market in 1925 (it was based on a 1913 model devised by Oskar Barnack of the Leitz Company to make use of leftover movie film) 0Alain Desvergnes: 'Photography: Werkzeug oder Falle?' in the transcript of the Symposion ueber Fotografie (Forum Stadtpark-Graz, 1980). Page 5. 0Cameras which are made to accept 35mm or 110 film. 0A Nikon F3 coupled with a M.D.4 motor drive is capable of taking 6 frames per second. As this would see a normal 36 exposure cartridge used up in six seconds, large 'bulk packs' are available that hold up to as 33 meters of film or approximately 720 single frames. 0according to Mark Strizic in a taped interview with the writer on 24.11.1991 0Lees, Stella and Senyard, June 'The 1950's'..how Australia became a modern society, and everyone got a house and a car (Hyland House, Melbourne, 1987) page 96. 0Whitington,Don Australia since the camera Volume 7 1949-1970 The Menzies era and after( Cheshire publishing, Melbourne 1971), unpaginated. 0Rick Smolan, a staff photographer for National Geographic magazine had the idea to invite 100 of the worlds 'best' photojournalists (including Malcolm Fraser and two other Australian photographers) to document Australia during the 24 hours of March 6 th 1981 see Chapnick, Howard 'Portrait of a continent' in Popular Photography, October 1982 pp.73-156 0I refer here to articles such as Charles Baudelaire's 'The salon of 1869' reprinted in English in Goldberg, Vicky(Ed.) Photography in Print, Writings from 1816 to the Present (Simon and Schuster, New York,1981). pp.123-126. Baudelaire asks: 'Are we to suppose that a people whose eyes are growing used to considering the results of a material science as though they were the products of the beautiful, will not in the course of time have singularly diminished it's faculties of judging and of feeling what are amongst the most ethereal and immaterial aspects of creation?' 0Which had shifted from the mark of the hand to the mark of the mind 0The atmospheric diffraction, pollution, the predominant ground-cover are just some of the factors that make a European sky a different blue to the sky seen in the Australian outback. Dye structures cannot accommodate all photographic situations equally well and are thus configured with majority usage in mind. The makers of Agfa film who produce their product primarily for the European market would thus expect the Australian market which is relatively insignificant in global terms to compromise and accept the difference in colour. 0Compared with the democratic design of the Box Brownie which could be used with equal facility for horizontal and vertical compositions. 0Who had the equipment to illuminate night-time or indoor events. 0on October 6 1989 according to Steve Hoffenberg inÒElectronic Photography comes of AgeÓin ESPRIT: Electronic Still Photography at Rochester Institute of Technology, Vol.1, No.2 November 9 1989 pp.1-7. The National Press Photographers Association's 'Electronic still Photojournalism workshop' which was held at Martha's Vineyard, M.A. from October 1-6 1989 included 22 Photographers, 22 Photo-Editors nine staff, two dozen observers and representatives from twenty vendors all collaborated to produce a colour newspaper by totally electronic pre-press methods under deadline conditions. 0According to Bill Nichols ' Ideology is how the existing ensemble of social relations represents itself to individuals; it is the image society gives of itself in order to perpetuate itself. These representations serve to constrain us(necessarily); they establish fixed places for us to occupy that work to guarantee coherent social actions over time. Nichols, Bill Ideology and the Image(Indiana University Press, Bloomington, 1981) page 1. 0This concept was quickly assimilated. By the mid 1800's Photography had already been used and abused as a political tool For example the condition of financing Fentons photographic expedition in 1855 was that: 'he should under no circumstances return with pictures that demonstrate the horrors of war in order to avoid causing fear amongst the families of soldiers' Freund, op.cit., pages 118 and 240 The ability to disseminate photographs widely (which began with the first half-tone reproduction in the New Yorker Daily Graphic on March 4 1880)increased the ability of the photograph to function as a political and ideological vehicle. From this point onwards the general public began to accept that a photograph in print was a true representation of a given event. This not only signifies the beginning of photojournalism but also the beginnings of photography's role as a legal document and evidence. The first official use of a photograph as evidence is held to be(Freund, Benjamin)the photographic depiction of the Paris communards in 1871 which subsequently enabled individual arrests and criminal convictions. Photography's documentary powers were accepted as legal evidence in many other nations from the 1880's onward 0By ideology I mean here the idea or ideas that form the basis for some political and/or economic system. 0According to Robert Hughes, 'the lack of cheap labour for the sheep and cattle -runs of Queensland had been apparent even before the gold rush'. Hughes quotes a letter dated January 1850 in which pastoralist Leslie claims:'we must have more labour than Emigration will supply....The Emigrants we get are the sweepings of the parish workhouses, not a bit more moral than the Exiles, and much lazier and independent; we ask for half and half Exiles and Emigrants , and if we do not get them we wills end for Chinese 'Hughes, op.cit., page 567. 0A total number of 32 volumes of these circulars were published between 1843 and 1873 according to Sue McBeth, editor of the 1990 facsimile reprint of the 1854 circular which is published as Information for people leaving Great Britain ,1854 (Macbeth Genealogical Books, Hampton, Victoria, 1991). 0Willis, op.cit., page 92. 0Ibid., page 93. 0Loc.cit..(For a fuller account see Keast Bourke: Gold and Silver, Penguin,1977 pp 29-33). 0There are in fact two ÒHolterman panorama'sÓ the version held by the Australian National Gallery collection in Canberra which features the dimensions stated above and another, slightly smaller version which is in the National gallery of Victoria collection. Isobel Crombie purchased the large version (52.2 x 978.6 cm) for the Canberra collection in 1982 and the smaller version for Melbourne in 1990 ( taped interview with Isobel Crombie, 28.11.1991). 0The advertisement in the Sydney Morning Herald on September 21 st. 1870 promoting this venture is reprinted in Davies and Stanbury, op.cit., page 199, as are comments that B.C.Boake's studio in Sydney had commenced a similar project. 0Recent major documentation projects involving architecture are the 'Darling Harbour photographs ' by Steven Lojevski and the 'Parliament House Construction' photographs by a group of twenty-four selected photographers. The indications are that this style of document has shifted only very slightly in nature and emphasis since the days when John Payne photographed the Zig - Zag railroad in the Blue Mountains or when Captain Samuel Sweet documented bridges and buildings in Northern Australia. 0Translated: 'The Worker Photographer'. 0This claim is verified by the substantial expenditure in the maintenance of official State and Federal photographic archives and the fact that the Australian Governments Media Unit employs 'official' photographers (Australia does not however, assign a permanent personal photographer to it's 'Head of State'. This 'luxury' is one of the 'perks' of the American President. ) 0A concept already assimilated over 100 years ago when we consider that in 1889 the 'British Journal of Photography' suggested the creation of a photographic archive for the purpose of providing: 'a record as complete as it can be made...of the present state of the world' and ' valuable documents for the future'.re-quoted from the original 'British Journal of Photography, 1889Ó in Beaumont Newhall's The History of Photography from 1839 to the present day, (M.O.M.A. 1949), page 167. 0 It also puts the control of this record in the hands of successive Governments. 0Who managed to complete Henry Parkes' vision by succeeding against the strong opposition of Lord Rosebery and Joseph Chamberlain in getting the Queen to sign the charter of the Commonwealth in 1900 0 Cato, op.cit., page 131. 0 This device is already evident in Renaissance paintings. The consistent use of this code of hierarchical placement in group portraiture serves as a useful factor in the de-constructive analysis of such portraits which are still in use today. 0The term is used here to mean: 'an aid to memory in the association of things with places'. 0Official archives such as the Australian War Memorial cannot subscribe to the concept of image obsolescence. This means that as their holdings increase, so does the inability of any single person to view the collection in it's entirety to make a particular selection. This usually results in the use of a specific body of images across a wide range of publications and, to some degree, accounts for the iconic status achieved by certain images. 0This is the number given in the introduction to Peter Stanley's and Michael McKernan's Australians at War 1885-1972, Photographs from the Collection of the Australian War Memorial,(William Collins Sydney, 1984). 0Although the A.W.M. collection is large by any standard, it is dwarfed by facts such as Edward Steichen's claim that during WW.1 alone fifteen photographic sections in 32 squadrons did nothing but take pictures, they made over a million photographs. In W.W.2 the U.S. employed over 4000 photographers to document the various theatres of war. See Edward Steichen: 'Photography: Witness and recorder of humanity' in Peninah R. Petruck (Ed) The camera viewed, Writings on twentieth century photography Vol 2 (E.P. Dutton, New York, 1979) page 4. 0The period prior to W.W. 1 is only represented by material donated from private and British archives. 0These two New Zealand born sisters who specialised in photographic portraits and achieved a personal style that alludes to Rembrandt's use of 'sfumato' and 'chiaroscuro', devoted themselves exclusively to the photographing of the men of the various forces. see: Cato, op.cit., page 136. 0 Some 60 000 glass plates from this War photography unit including some 200 colour plates by Frank Hurley are now held by the Australian War museum. 0The two units combined during the latter part of the war and their common effort resulted in a collection of some 200 000 negatives from the various theatres of war. The independent R.A.A.F. Public relations unit with it's one full time photographer contributes a further 32 000 negatives to this coverage. 0In this sense at least his career similar to that of Edward Steichen who was in charge of the United States photography unit for both, W.W.1 and W.W.2. 0Despite the fact that a refusal to photograph a war by all photographers would, in the opinion of this writer, deplete the hidden agenda of most armed conflicts.There is no shortage of examples that demonstrate the reliance by Governments on documentation for the 'proof' of what really happened. The Òmissile camÓ images which were beamed across half the world during the recent middle east conflict with Iran attest to the political value which is attributed to war photography. The technical supremacy of the American led attack was the stable propaganda diet fed to the public to justify both, the action and the expenditure. 0After the return of the contingent which had seen no action, the acting premier of New South Wales William Dalley who had negotiated this first instance of a self governing British Colony sending troops, broke with tradition and did not commission a commemorative album. This according to Gael Newton, may have been the consequence of the satirical adopted by the Bulletin which was opposed to Australia's participation in this conflict. It was in response to this that Barcroft Chapel Boake constructed his huge mosaic of portraits of the contingent which was mounted on canvas painted in black and gold. Smaller copies were sold to the public and families of the soldiers; see: Newton, op.cit., page 61 0Barcroft Chapel-Boake's method of depiction was not his invention. It had been used for a variety of group depictions from as early as the 1860's by photographers including the Croft Bros., Edward Dalton and William Sargent. 0Examples include :Embarking Sudan, Newton, loc.cit......, Embarking WW.1 and Disembarking WW.2 in Australians at War, page 30 and p.203. 0Reg Morrison, Australians Exposed (Paul Hamlyn, Dee Why West, New South Wales, 1973)pp 50-55 0Anzac photographs by Glenda Gerrard, in Lip 1981-1982, pp 58-59 0A phrase borrowed from Danielle Duval's Pages from Maria Kozic's Book, (Art Criticism and Monograph series, Artspace ,Melbourne 1987), page 16. 0Minorities often keep their own documentation of events in the hope of some future opportunity to 'set the record straight. Examples range from Major Kennedy Byron Burnside's secret photographs(under threat of death if discovered)of conditions inside the now infamous Changi peninsula prison compound in Singapore (see Hughes, Clarke Prisoners of war (Time Life Books 'Australians at war series', Sydney, 1988) pp 79-89 to minority struggles such as the 'Residents against the F.19 freeway' in Melbourne who published , together with the Australian independence movement the journal Barricade(April 1978). This journal depicted the conflict from the viewpoint of the 'anti freeway' partisans. 0The national bicentennial Arts program was the most ambitious and costly Arts event ever organised in Australia. The Australian Bicentennial Authority had received a budget of 17 million dollars for it's 1988 program which included 6500 artists who participated in 120 productions, exhibitions developmental projects, publications and events. (see Sarah Overton : Reviews, Australian bicentennial Arts Program 1988, (Australian Bicentennial Authority, Sydney, 1989), page 7. 0 This model of documentary photography was pioneered in the United States under the title Rephotographic project. This, the first project of it's kind began in 1977 and initially attempted to locate and repeat the photographs of pioneer camera-man William Henry Jackson who had primarily photographed the Rocky Mountain region during the 1870's. the project was eventually widened to include the rephotographs of work by T.H. O'Sullivan, J.K.Hillers, A.J.Russel, and A. Gardiner. The Team of photographers which included Mark Klett travelled 30 000 miles and photographed sites in Arizona, California, Colorado, Idaho, Nevada, New Mexico, Utah and Wyoming. A total of 122 nineteenth century photographs were matched during the two years of continuous field-work. Described by Mark Klett in his article: 'Rephotographic survey project' Landschaften des Neunzehnten Jahrhunderts wiederentdeckt in European Photography pp.26-27 0Described and critically evaluated in Martyn Jolly's article 'The time machine' see Photofile Winter 1988 pp.23-26 0These photographs are now held in the archives of the Mortlock library. S.A. 0The Holterman re-photographs were made by the then 30 year old Maltese migrant John Grech.This writer has obtained copies of letters written by John Grech explaining both the aims and methods relevant to this project from the curator of the City of Waverley collection. 0John Grech breaks this mold somewhat as we can gather from the comments in his letter to Louise Samuels (Education officer at the Orange Regional Gallery) dated 25th August 1989 (see loc.cit..) 0This selection is used because it covers a broad ground. It is however hardly exhaustive and could include advertising brochures, billboards, magazines, medical and scientific records,official identification such as passport photographs, surveillance records and pornographic prints to mention some of the remaining contexts. 0I speak here primarily of the work of Burgin and Wolff but also acknowledge the contributions of Althusser, Barthes, Buddemeier, Flusser, Foucault, Secula and Tagg. 0It is a little known fact that the pioneering work for this process was performed in Victoria, Australia by the Government photographer James W Osborne. He had solved the problem of transferring a photographic image onto lithographic stone in September 1859. Osborne's process was so successful that the Victorian Government set up a commission consisting of politicians, scientists and technicians to make a report on it. Their report recommended that Osborne be given a considerably advanced salary and a grant of £1000 which he duly received. Later on James Osborne went to the U.S.A. where he formed a company to exploit the Osborne process. He eventually settled in Washington, working for the U.S.A. Government. See: Cato, op.cit., page 127. 0The Town and Country Journal, published Willey's picture on February 18 th.1893 and the Sydney newspaper The Illustrated Sydney News published it two weeks later on March 4 th.1893. Davies and Stanbury, op.cit., page 91. 0Tuesday, March 26 1991. 0This device especially effective because of the difficulty if not impossibility to establish causal link between the use of certain photographs and libellous intent. 0Robert C Solomon Ethics. A brief introduction. (The University of Texas at Austin, 1984)page xii. 0Gus Macdonald uses the concept as a title for his book Camera: Victorian Eyewitness.(Viking Press, New York). 0John A. Walker Art in the age of mass media(Pluto Press, London 1983), page 19. 0A total of five hundred and three pictures from sixty-eight countries ended up being included in the Family of Man exhibit. First displayed in 1955, Family of Man toured 69 countries until 1962. It was seen by some nine million people according to Allan Secula in 'The Traffic in Photographs' see Nixon, Matthew and McGillivray, Euan (Eds...). Australian Photography Conference. The Conference Papers. Working Papers on Photography, Richmond, Victoria [1978] 0Loc cit. Secula lists a number of examples including verbatim quotes of United States Information Agency memorandums in support of this hidden political and ideological agenda. 0Enquiries about accurate numbers were made with Kodak Australalia's 'Consumer Imaging, Cameras and Video' manager John Waddle in Melbourne (03) 350 1222 and the 'Australian Photo Marketing Association' in Sydney(02)362 3082. In both instances it was not possible to have these figures supplied (I was informed that they are confidential). 0Sontag, Susan On Photography (Dell Publishing, New York, 1978, page 10. 0Walker op.cit., page 100. 0a 'carte de visit*' sized image of the deceased with the photograph fimbriated and the birth and death dates and the persons name , profession and any honorary or formal titles recorded on the opposite side to the one containing the photographic portrait(usually a formal portrait which is selected to show the deceased in 'good health' or during their 'better days'. These death cards are given out to those who attend the funeral service. 0see Barbara Hall: 'Some false histories and their friends' in Photo Discourse pp 73-74. 0Stevie Bezencenet and Haim Bresheeth, Photographic Archives, Photographic practices: towards a different image,(Comedia Publishing Group, London, 1986) p 61. 0It will be discussed in greater detail in chapter 3 0I mean here a concern with the formal canons as well as individual interpretations of the beautiful which augments, but remains distinct from the technical and ideological concerns. 0Which photographers have largely borrowed from the traditional practices of painting and drawing. 0I refer here to a system of technical control pioneered by American photographers including Ansell Adams, Minor White and Paul Caponigro which has become known as the 'Zone System'. Dedicated adherents to this system make a wide range of aesthetic judgements based upon it. 0Technology will however continue to have some bearing on the aesthetic content in photography as it determines the outcome much more than say the choice of typewriter or word-processor determines the content of a novel. 0I refer particularly to works painted during the visits to Houston's farm in the Melbourne Suburb Box Hill around the mid to late 1880's such as The Lost Child, 1886 which is in the collection of the National Gallery of Victoria. 0 Willis, op.cit., page 188. It must be noted that Willis bases this claim on an article by Martyn Jolly entitled 'Edward Cranstone, Photographer' featured in Photofile , Autumn 1984 pp1-4. 0The concept of 'ostranenie' or 'making strange' which was pioneered by the Soviet ' Oktyabr group" photographers was first outlined by Rodchenko in 1928: 'In photography there are odd points of view, the point of view of a person who stands on the earth and looks straight ahead, or, as i call it the Ònavel photoÓ, with the camera resting on the stomach. I am fighting against this point of view and will carry on fighting for photography from all positions other than the Ònavel positionÓ so long as they remain unrecognised. The most interesting angles at present are those from"top to bottom" or "from bottom to top" and there is much work to be done in this field.' see Burgin, Victor(Ed.) Thinking Photography,(MacMillan, London, 1982), p.177. 0Who often collaborated with the poet Mayakowsky. 0The influence these Soviet photographers is also evident in the work of American photographers; Lewis W. Heine's work of construction work on skyscrapers for example, and the 'Worker photography' movements in Central Europe during the 1930's. 0The term was first used in 1858 in a description, written under a pseudonym, of the old City of Glasgow: Midnight scenes and social photographs. The photographs in this context existed only as descriptive text elements rather than actual camera made images. See A.V.Mozley: T.Annan, Photographs of the Old Closed Streets of Glasgow 1868/1877, (New York, 1977), Introduction, XIV. 0This is the earliest known example of an officially sponsored project of this kind. See: Kemp op.cit.,page 126-127. 0Kemp points out that Annan's work could not have had the urban improvement as it's aim as much of the photographic work was carried out after the laws for the improvement of Glasgow were passed in 1868. A few original sets of prints were made and given as presents to city representatives in 'morocco-leather bound sets' and an edition of 100 carbro-prints was made (presumably for the purpose of being sold as facsimile artworks).loc.cit..,. 0These photographs were commissioned by George McCredie who had been appointed to take charge of quarantine and cleansing operations in plague afflicted areas. See: Willis, op.cit., page 96. 0Loc.cit.. 0A large format camera (5x4 inch negatives or larger)which required the photographer to decide on a composition by viewing through a ground glass and then inserting a film holder before making the exposure. This equipment would be quite unsuitable for style of work where spontaneity and the 'decisive moment' desired. One of the major ramifications of view camera work is that the subject is fully aware of the camera. 0The f 64 school. 0'View of the world' in the Nitzschean sense. 0Other than the criteria offered by Roland Barthes who distinguishes the 'denotive' and 'conotive' image as equivalents to the 'literal' and 'symbolic'. The respective requirements for each of these approaches can of course be quantified to some degree. See Barthes, Roland 'Die Rhetoric des Bildes' in Wolfgang Kemp Theorie der Fotografie 3, (Schirmer/Mosel, Munich,1983). 0Because it was taken after the official parade with her Majesty the Queen had passed down Swanston Street in Melbourne. This suggest a time after 3 pm on March 2 nd. 1954. 0Lees and Senyard, op.cit, page 96. 0The hand application of colour dyes to Ambrotypes for example was practiced in Australia as early as the 1860's by Thomas Glaister. Helen Ennis and Isobel Crombie Australian Photographs (Australian National Gallery, Canberra, 1988),page 4 . 0Mostly in the nature of hand-colouring or tinting and intended to 'improve' the natural appearance of the photograph. 0who used ingenious devices to turn the billboard message against itself. 0Ross Harley 'Debt' in Photofile, Summer 1987-88, pp.22-24. Heather Curnow 'Words on Wheels' Photofile, Autumn 1988, pp. 19-20. 0This concludes a process which may be said to have began with works such as Victor Burgin's Patriarchitecture in his U.S.'77 series where Burgin photographed billboards, imposed his own textual message on the negative and printed the result. see also John Conimos 'Beyond Metaphor', Photofile, Winter 1987, pp. 41-43. 0A medium which she has revitalised as her primary practice after 1982. 0Others who worked with manipulated and hand coloured images include Merryle Johnston, Ruth Maddison, Leonie Reisberg, Warren Brenninger and more recently Kate Breakley and Robyn Stacey. See Geoff Strong's article 'The Melbourne movement: Fashion and Faction in the Seventies' in The Thousand Mile Stare(Victorian Centre for Photography, Melbourne 1988) page 11. The other form of practice popular at the time was he 'high-tech.' saturation photography approach described earlier in this chapter.