307:"By a strange coincidence the plumber who rigged my home darkroom was a keen amateur photographer and a member of the NSW Photographic Society. He persuaded me to join it. That's democratic Australia for you! I think everyone belonged to it except some of the elite from The Sydney Camera Circle. I met and received encouragement from Arthur Smith, HN Jones, Henri Mallard, Doug Hill, Harold Cazneaux and others. The monthly competitions were a great thing. Pictures were hung as in a gallery and you saw your own work alongside work by other photographers." from Max Dupain's typewritten notes, c. 1976, in catalogue of "Max Dupain – Modernist", 9 June to 23 September 2007, State Library of New South Wales, curator: Avryl Whitnall. Sydney: State Library of New South Wales, June 2007 (
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In 1892 the first volume of
Australian photographic journal (Sydney, N.S.W), was published in which short articles on 'art-versus-photography' appeared from time to time (the journal later becomes Harrington's Photographic Journal (H.P.J.) published Sydney : Harrington & Co., 1910–1927)
206:, W.S. White, Malcolm McKinnon and James Paton. They pledged "to work and to advance pictorial photography and to show our own Australia in terms of sunlight rather than those of greyness and dismal shadows". He also contributed lectures and technical demonstrations to the
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while Hurley records his approach to Mawson differently in his memoir, the fact of this introduction via
Mallard was established by David P. Millar in "From snowdrift to shellfire : Capt. James Francis (Frank) Hurley, 1885–1962" Sydney : David Ell Press, 1984.
451:
Gael Newton ; with essays by Helen Ennis and Chris Long and assistance from Isobel
Crombie and Kate Davidson. "Shades of light : photography and Australia 1839–1988" Canberra : Australian National Gallery : Collins Australia, 1988.
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the online version of Gael Newton's "Australian pictorial photography : a survey of art photography from 1898 to 1938 organised by the Art
Gallery of New South Wales, Sydney" Sydney : Trustees of the Art Gallery of New South Wales,
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Born in
Balmain (Sydney, Australia) to French parents, he came to photography via the industry. Using his French connections and accent (which was strong owing to his home education), he secured a position in 1900 with Harrington (later
290:(Gael Newton. "Australian pictorial photography : a survey of art photography from 1898 to 1938 organised by the Art Gallery of New South Wales, Sydney" Sydney : Trustees of the Art Gallery of New South Wales, 1979.
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Gael Newton. "Australian pictorial photography : a survey of art photography from 1898 to 1938 organised by the Art
Gallery of New South Wales, Sydney" Sydney : Trustees of the Art Gallery of New South Wales, 1979.
269:“Here we have the documentary photograph, radical enough in its context, the social document, a large slice of Sydney's evolution and an example to all of us who think of future generations in terms of historical narration."
163:) as a sales representative to the French consulate. He remained with the company, becoming general manager, until 1952. With ready access to equipment and materials, he was an enthusiastic amateur exhibitor by 1904.
230:-era engineering feat. His pictures and film of the Bridge were an intentional historical document, and the project was self-generated. Between 1930 and 1932, he produced hundreds of stills and film footage.
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Henri
Mallard (photographer) ; introduced by Max Dupain and Howard Tanner."Building the Sydney Harbour Bridge". Melbourne : Sun Books in association with Australian Centre for Photography, 1976.
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Building the Sydney
Harbour Bridge / photographer: Henri Mallard ; introduced by Max Dupain and Howard Tanner. Melbourne : Sun Books in association with Australian Centre for Photography, 1976.
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265:(1927–2003) to make an archive of gelatin silver prints from the collection of Mallard's glass negatives, which were published in association with Sun Books in 1978.
179:'s Australasian Antarctic expedition, ahead of himself.; moving to Harrington's Melbourne office in 1913, he opened the showrooms to exhibitions, including that of
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Construction of the Sydney Harbour Bridge, film by Mallard, Henri. ; Litchfield, Frank. : Institution of Engineers, Australia, Sydney Division, .
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between the late 1920s and the early 1930s. Photographing from precarious vantage points on the bridge itself, sometimes a hundred metres above
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Helen Ennis "Intersections: Photography, History and the
National Library of Australia", Canberra : National Library of Australia, 2004.
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see page 176–178 Intersections: Photography, History and the National Library of Australia, Helen Ennis, National Library of Australia, 2004.
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Gael Newton "Silver and Grey: fifty years of Australian photography 1900 – 1950", Sydney: Angus and Robertson, 1980.
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He used his business and connections to support other photographers; he was influential on fellow Sydney-sider
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the online version of the original Shades of Light published 1998, Gael Newton, National Gallery of Australia.
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Cato, Jack (1955). The story of the camera in Australia(Deluxe ed). Georgian House, Melbourne, p. 156.
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in composition and design, many of the Bridge images are printed in
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271:Max Dupain
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