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This book looks at a range of New Zealand photographs up to 1918 and analyses them as photo-objects, considering how they were made, who made them, what they show, and how our understanding of them can vary or change over time. This emphasis on the materiality of the photograph is a new direction in scholarship on colonial photographs.
James William Newland’s (1810–1857) career as a showman daguerreotypist began in the United States but expanded into Central and South America, across the Pacific to New Zealand and colonial Australia and onto India. Newland used the latest developments in photography, theatre and spectacle to create powerful new visual experiences for audiences in each of these volatile colonial societies. This book assesses his surviving, vivid portraits against other visual ephemera and archival records of his time. Newland’s magic lantern and theatre shows are imaginatively reconstructed from textual sources and analysed, with his short, rich career casting a new light on the complex worlds of the mid-nineteenth century. It provides a revealing case study of someone brokering new experiences with optical technologies for varied audiences at the forefront of the age of modern vision. This book will be of interest to scholars in art and visual culture, photography, the history of photography and Victorian history.
In this handsome book, leading photography curator Athol McCredie tells the story of the beginnings of contemporary photography also known as art photography in New Zealand. Through interviews with the photographers Gary Baigent, Richard Collins, John Daley, John Fields, Max Oettli, John B Turner, Len Wesney and Ans Westra, and accompanied by an outstanding introductory essay, McCredie shows how the break-through approach of personal documentary photography created a new field of photography in New Zealand that was not simply illustrative but rather spoke for itself and with its own language.
This book illustrates the richness of New Zealand's photographic tradition, from nineteenth-century portraits and landscapes to the latest contemporary art photography. It showcases more than 400 photographs from the collection of the Museum of New Zealand Te Papa Tongarewa.
This entertaining selection of over 100 photos of New Zealand dogs reveals some of the more curious ways in which they have appeared in photographic collections from the nineteenth and early twentieth centuries. Dogs named Terror, Betsey Jane, Floss and Erebus appear alongside canines whose names are no longer known. The photos range from carefully staged studio portraits to New Zealand landscapes. This book also shines a light on some significant dogs, from Scott of the Antarctic's favourite sled dog to the talented mascot of the New Zealand Army rugby team. The photographs take the reader across the towns and landscapes of Aotearoa New Zealand, and the text profiles many of the photographers and studios that flourished prior to the First World War. It also pays tribute to the museums and galleries that now care for these delightful collections.
The Victorian era heralded an age of transformation in which momentous changes in the field of natural history coincided with the rise of new visual technologies. Concurrently, different parts of the British Empire began to more actively claim their right to being acknowledged as indispensable contributors to knowledge and the progress of empire. This book addresses the complex relationship between natural history and photography from the 1850s to the 1880s in Britain and its colonies: Australia, New Zealand and, to a lesser extent, India. Coinciding with the rise of the modern museum, photography’s arrival was timely, and it rapidly became an essential technology for recording and publicising rare objects and valuable collections. Also during this period, the medium assumed a more significant role in the professional practices and reputations of naturalists than has been previously recognized, and it figured increasingly within the expanding specialized networks that were central to the production and dissemination of new knowledge. In an interrogation that ranges from the first forays into museum photography and early attempts to document collecting expeditions to the importance of traditional and photographic portraiture for the recognition of scientific discoveries, this book not only recasts the parameters of what we actually identify as natural history photography in the Victorian era but also how we understand the very structure of empire in relation to this genre at that time.
Dr. Orchiston is a foremost authority on the subject of New Zealand astronomy, and here are the collected papers of his fruitful studies in this area, including both those published many years ago and new material. The papers herein review traditional Maori astronomy, examine the appearance of nautical astronomy practiced by Cook and his astronomers on their various stopovers in New Zealand during their three voyagers to the South Seas, and also explore notable nineteenth century New Zealand observatories historically, from significant telescopes now located in New Zealand to local and international observations made during the 1874 and 1882 transits of Venus and the nineteenth and twentieth century preoccupation of New Zealand amateur astronomers with comets and meteors. New Zealand astronomy has a truly rich history, extending from the Maori civilization in pre-European times through to the years when explorers and navigators discovered the region, up to pioneering research on the newly emerging field of radio astronomy during WWII and in the immediate post-war years. A complete survey of a neglected but rich national astronomical history, this does the subject full and comprehensive justice.
Te Papa holds New Zealands national art collection, whose origins date back to 1865 and the establishment of the then Colonial Museum (later the Dominion and then the National Museum). Built up over the years by a succession of directors and curators, the collections 40,000 works track New Zealand history and the art movements within it. In this generous book, Te Papas curators and a wide range of other expert art writers showcase the strengths of the New Zealand art collection by discussing around 270 works. From very early colonial work through to recent acquisitions, and including photography, their essays offer insights into the art, the artists and the context and issues that drove them. The book is complemented by biographies of all the featured artists, making it a valuable resource.
"Without a counterculture, what chance has the mainstream culture of improving, growing and diversifying? As well as being vehicles of imagination, poetry and a romantic life-concept, the vehicles photographed by Paul Gilbert have become a far greater force in the country's evolving consciousness than anyone ever expected. In the present era of small houses and mobile homes, these images offer not only a prehistory but also a soundtrack and some messages worth deciphering, written with love on the fugitive walls and ceilings of the not-so-distant past"--Publisher information.