1 00:00:03,540 --> 00:00:14,819 Perfect. Well, I know I'm occupying the before-afternoon-tea spot, with the hard task of following Stephen's amazing paper. And, I'd like 2 00:00:14,820 --> 00:00:20,940 to join with thanking... join all my fellow presenters this morning in thanking the Bodleian team, Richard Overton, 3 00:00:20,940 --> 00:00:31,500 Lucy Bailey, everyone who's put on this inspiring event; Geoff Batchen for inviting me and also for fostering my research in this area, 4 00:00:31,890 --> 00:00:36,480 along with a whole lot of other Australian historians who are doing incredible work. 5 00:00:36,480 --> 00:00:45,330 And I feel not un-intimidated by the fact that I am representing the Southern Hemisphere, as it would be, in this scholarship. 6 00:00:46,530 --> 00:00:55,319 And, Miriam spoke this morning about how important it was to position yourself in the history that you're writing. 7 00:00:55,320 --> 00:01:00,750 So, in that flavour, I want to acknowledge that I work on the unceded lands of the Ngunnawal and Ngambri People 8 00:01:00,750 --> 00:01:09,330 in Kamberri, Canberra, in Australia, and pay my respects to their Elders past, present and emerging. 9 00:01:09,690 --> 00:01:21,030 I work on the geographic periphery of Empire and much like the people I study, the colonial past is palpably present in my archive and my images. 10 00:01:22,980 --> 00:01:30,870 Okay, onward. British photographers away from home, J.W. Newland and Louisa How. 11 00:01:32,110 --> 00:01:41,800 These sixth and quarter-plate portraits of unidentified men may appear somewhat typical of the mid-Daguerreian period in pose and composition. 12 00:01:42,280 --> 00:01:51,040 However, they bookend the rather exceptional global career of their photographer, J.W. Newland. Today, somewhat poetically. 13 00:01:51,070 --> 00:01:57,650 this story of Newland's career comes full circle by these daguerreotypes placement, for the first time, 14 00:01:57,670 --> 00:02:01,510 side-by-side, in 'A New Power', in that very long vitrine 15 00:02:01,510 --> 00:02:09,940 towards the end. The portraits were taken in two of the busiest mid-19th century ports, New Orleans and Kolkata, 16 00:02:10,360 --> 00:02:14,920 and are part of a broader story about the entanglement between imperial politics, 17 00:02:15,250 --> 00:02:20,200 photographic knowledge and an expanding global market for illustrated publishing. 18 00:02:21,670 --> 00:02:28,540 They map the nautical arc of Newland's career, which brings other ports, photographs and artists into view. 19 00:02:29,590 --> 00:02:36,220 My paper is about this arc. It is about port cities as productive spaces for early photography, 20 00:02:36,580 --> 00:02:43,150 pausing on one port on Newland's route, particularly: Sydney on Gadigal and Cammeraygal Country, 21 00:02:43,360 --> 00:02:52,540 which consolidated not only his own peripatetic photographic practice, but also that of another British-born photographer, Louisa How. 22 00:02:53,500 --> 00:02:57,590 But first, Newland. James 23 00:02:57,590 --> 00:03:03,830 William Newland was born in Redgrave, Suffolk in 1810, the first illegitimate child of Eliza Newland. 24 00:03:04,130 --> 00:03:10,820 His modest family fortunes mean that there are very few archival records pertaining to his childhood and early life, 25 00:03:10,820 --> 00:03:14,330 a problem that seems to have reoccurred in today's papers. 26 00:03:15,710 --> 00:03:24,320 Newland left England in the mid 1830s and thus did not experience a culture of commercial photography in his own country. 27 00:03:24,770 --> 00:03:35,960 He worked as a merchant in Galveston, in a mixed business, in Texas before opening his own photographic rooms in New Orleans in May 1845, 28 00:03:36,320 --> 00:03:40,760 perhaps after a period of indenture at a larger American studio. 29 00:03:42,200 --> 00:03:47,840 Newland's rooms sat at a junction of Royal and Canal Streets just up from the Mississippi River. 30 00:03:48,200 --> 00:03:53,719 Here, as our first daguerreotype demonstrates, he was taking commissions for portraits on Scovills 31 00:03:53,720 --> 00:04:02,390 plates (manufactured in Connecticut) and housed in Mathew Brady cases and blind stamped on the gilt mat with his own name. 32 00:04:02,400 --> 00:04:10,550 (So a mixed authorship, in a sense.) The junction was also home to three other daguerreotype businesses. 33 00:04:11,360 --> 00:04:17,300 In the summer months of 1845, when lots of the city's entertainments had wound down on account of the heat, 34 00:04:17,810 --> 00:04:21,139 Newland could not compete with these more established artists. 35 00:04:21,140 --> 00:04:28,940 Particularly, each of his three competitors coupled their studios with galleries where prospective sitters could 36 00:04:28,940 --> 00:04:36,020 gaze on an assortment of faces from the city's transient populations before commissioning their own portraits. 37 00:04:36,590 --> 00:04:43,040 Newland left New Orleans in June 1845 and, rather than move to a different North American city, 38 00:04:43,400 --> 00:04:50,870 he began a period of intense itinerancy. Between late 1845 and 1847, 39 00:04:51,230 --> 00:04:53,600 Newland travelled through Central and South America. 40 00:04:54,080 --> 00:05:03,110 His route was neither spontaneous nor incidental but rather connected to stable parts of British influence and trade. In each port, 41 00:05:03,140 --> 00:05:11,180 he took commissions for portraits but also began consolidating a suite of second exposures of these same paying clients. 42 00:05:11,180 --> 00:05:19,880 (So he exposed two plates: one left the studio with the client and the other he kept for himself, while also taking a number of daguerreotype views.) 43 00:05:20,390 --> 00:05:24,860 These were geographies where British news and illustrated periodicals like the 44 00:05:24,860 --> 00:05:30,200 Athenaeum and the Art Journal were freely available as a corollary of commodity trade. 45 00:05:30,590 --> 00:05:36,590 We know that Newland was reading this literature because while in Central America he mail ordered 46 00:05:36,590 --> 00:05:42,590 equipment from British suppliers advertising in these publications to meet him in Australia. 47 00:05:45,210 --> 00:05:54,570 In 1847, Newland was at the American Hotel in Valparaiso, Chile, where once again he was taking daguerreotype portraits. 48 00:05:55,300 --> 00:06:01,810 Here he began to unpack what was now quite an extensive cache of daguerreotypes. In Chile, 49 00:06:01,830 --> 00:06:08,640 sitters could inspect views at the Peruvian town of Arequipa, and the port at Callao, before sitting for their own daguerreotype. 50 00:06:09,300 --> 00:06:16,820 Unlike the American daguerreotypists of Charles and Jacob Ward, or Robert H. Vance, who were all in Valparaiso at this time, 51 00:06:16,820 --> 00:06:24,330 Newland did not take his collection of Central and South American views and portraits back to North America for exhibition. 52 00:06:24,930 --> 00:06:31,800 Nor did he return to North America to relaunch his business in the context of the American-Mexican War, 53 00:06:32,040 --> 00:06:35,340 or with the emerging boom of landscape photography, 54 00:06:35,910 --> 00:06:42,870 as would be the case for people like Carleton E. Watkins, who was travelling through Central and South America during this time also. 55 00:06:43,650 --> 00:06:54,180 Rather, Newland set out across the Pacific. His ship called at the port of 56 00:06:54,180 --> 00:07:01,800 Papeete, in Tahiti; at Aitutaki, in the present day Cook Islands, and in the Bay of Islands, Aotearoa/New Zealand. 57 00:07:02,580 --> 00:07:07,290 Newland was the first daguerreotypist to travel through these three ports. 58 00:07:07,680 --> 00:07:14,280 (I am pretty sure of that claim. Although "firsts" is a problem, I do take that point.) 59 00:07:15,090 --> 00:07:24,270 In 1843, the French invasion of Tahiti had expelled British Protestant missionaries and left the indigenous queen Pomare IV, 60 00:07:24,420 --> 00:07:29,010 a mere constitutional figurehead. In the Bay of Islands in New Zealand, 61 00:07:29,070 --> 00:07:39,780 Māori attacks on the colonial invaders at the garrison of Russell threatened the Bay's security as a point of rest for international shipping. 62 00:07:40,230 --> 00:07:46,560 Both of these very recent inter-imperial and inter-colonial conflicts were reported on globally. 63 00:07:47,700 --> 00:07:55,530 They were followed very, very closely in the port city of Sydney, in the colony of New South Wales, on the Pacific's periphery. 64 00:07:57,600 --> 00:08:04,680 Newland arrived in Sydney in February 1848 with the largest collection of photographs to cross the Pacific. 65 00:08:05,250 --> 00:08:13,299 He opened his first studio on the corner of George and King Streets, just up from the docks. In New Orleans of Valparaiso, 66 00:08:13,300 --> 00:08:16,709 Newland had multiple daguerreotype businesses as competition. 67 00:08:16,710 --> 00:08:21,990 But in Sydney, there was just one other daguerreian studio, that of Isaac Pollock. 68 00:08:22,050 --> 00:08:25,410 (Goodman, who Stephen mentioned in his paper, had long since left.) 69 00:08:27,070 --> 00:08:35,049 In his opening advertisement, Newland informed prospective customers that in visiting his studio-cum-gallery, 70 00:08:35,050 --> 00:08:38,950 they could, quote, "see upwards of 200 daguerreotypes. 71 00:08:39,310 --> 00:08:50,200 Among them, the only correct portrait taken of Queen Pomare, her consort, the King, the royal family, chiefs, portraits of New Zealanders, Fijians, 72 00:08:50,200 --> 00:09:01,120 [b which I infer he means Indigenous People of Aitutaki] Chileans, Grenadians and Co., as well as views of the port in Arequipa and Co." 73 00:09:02,360 --> 00:09:08,120 In its design, Newland's Sydney Gallery was very much like that of his New Orleans competitors, 74 00:09:08,510 --> 00:09:12,290 Or that of now-much-more-famous names in photography than him: 75 00:09:12,590 --> 00:09:21,230 Brady, Plumbe, Edward Anthony, even Claudet: it was an adjoining room to a studio space for preview of the daguerreotypist's work. 76 00:09:21,620 --> 00:09:26,540 Yet in its content, Newland's now-lost collection was unparalleled. 77 00:09:27,290 --> 00:09:36,830 It was a direct product of his westward travel and a unique experience of verisimilitude through British, French and ex-Spanish colonial worlds 78 00:09:36,860 --> 00:09:48,110 that trajectory afforded. The centrepiece was the Tahitian Queen Pomare's portrait, and the word "correct" here in Newland's description is illuminating. 79 00:09:48,950 --> 00:09:56,120 He backed on the fact that Sydney colonial audiences were curious about Pomare's "true" likeness. 80 00:09:56,900 --> 00:10:03,049 This curiosity was generated over a past decade by her multiple incarnations 81 00:10:03,050 --> 00:10:07,760 in the illustrated Anglophone and Francophone press, 82 00:10:08,180 --> 00:10:13,910 which coupled the French invasion of Tahiti, and only some of which I've included on the slide here. 83 00:10:14,540 --> 00:10:17,600 [I think you are a slide ahead of where you think you are. Oh, okay.] 84 00:10:17,630 --> 00:10:28,680 [Thank you. Yes.] These representations in engraved, printed and sketched form, all by imperial artists, cast Pomare IV 85 00:10:28,700 --> 00:10:35,960 alternatively and incongruously as a plaint beauty, a Christian mother, and an embattled Madonna. 86 00:10:36,740 --> 00:10:43,070 The portraits, which circulated through Sydney in illustrated periodicals and print folios, 87 00:10:43,370 --> 00:10:47,120 speak to the malleability of the Queen's non-photographic image, 88 00:10:47,450 --> 00:10:55,040 which was imbued with a dizzying variety of devices: allegory, racialisation, sexualisation and satire. 89 00:10:55,730 --> 00:11:03,440 Newland's Gallery was the first chance any audience outside Tahiti had to view Pomare's likeness beyond caricature. 90 00:11:04,070 --> 00:11:12,440 He also gave Sydney customers the chance to include their own daguerreotype portraits, made in his studio, 91 00:11:12,500 --> 00:11:21,950 but included in his gallery, and thus to visualise themselves as part of this transnational trans-imperial Pacific world in flux. 92 00:11:25,210 --> 00:11:36,070 Newland and his gallery would travel onward to Nipaluna/Hobart in present day Tasmania/Lutruwita and then forward still on to Kolkata. 93 00:11:36,550 --> 00:11:39,460 Here we meet up with the second of our daguerreotypes. 94 00:11:39,790 --> 00:11:53,650 This gentleman probably looked at Newland's daguerreian gallery in his regal Loudon's building rooms before commissioning his own portrait. By Kolkata, 95 00:11:54,490 --> 00:11:59,530 the expansive collection of daguerreotypes included a view of the port at Hobart, 96 00:11:59,830 --> 00:12:03,160 A second copy of which was left back at the Colony. 97 00:12:04,060 --> 00:12:08,370 [And this is from the Australian Tasmanian Museum and Art Gallery collection.] 98 00:12:10,220 --> 00:12:14,990 By Kolkata, Newland's brand was individualised and clearly defined. 99 00:12:15,360 --> 00:12:22,400 He had done away with his American suppliers and was importing British cases that he embossed with his own gold stamp. 100 00:12:22,970 --> 00:12:32,630 Throughout the duration of his career, Newland would return to London only once, in 1854, to personally update his kit and equipment. 101 00:12:33,290 --> 00:12:40,760 Upon arriving back in Kolkata in 1855 and, until his death during the Indian Uprising in 1857, 102 00:12:41,150 --> 00:12:45,800 Newland positioned himself not only as a photographer and a gallerist, 103 00:12:46,040 --> 00:12:50,930 but also as a retailer of photographic materials, a broker of photographic materials, 104 00:12:51,260 --> 00:12:59,390 and a provider of photographic instruction, specifically to an emerging class of local Bengali photographers. 105 00:12:59,660 --> 00:13:04,520 And this is the first edition... I am one slide ahead of myself. 106 00:13:05,000 --> 00:13:12,229 I did have a slide there, which was the first edition of the Bengali Photographic Journal, which showed Newland's advertisement across 107 00:13:12,230 --> 00:13:15,320 the whole back page. Yes. 108 00:13:18,410 --> 00:13:25,729 So, it is on this point of thinking about how photographic instruction was increasingly advertised, but also serialised, 109 00:13:25,730 --> 00:13:30,980 and the possibilities this afforded for how knowledge circulated beyond Britain 110 00:13:31,580 --> 00:13:35,250 that we moved back to Sydney Harbour and the second of our biographies. 111 00:13:35,270 --> 00:13:45,670 Louisa How, formerly Elizabeth Richardson, arrived in the Australian colonies ten months after Newland's departure. 112 00:13:46,420 --> 00:13:52,690 She may have heard whispers of Newland's daguerreian gallery, but she was too late to see it first-hand. 113 00:13:53,290 --> 00:13:57,790 Like Newland, How was born into a relatively modest family in England. 114 00:13:58,180 --> 00:14:07,690 The daughter of a publican, she began her professional life as a milliner in the parish of St Peters on the outskirts of Cambridge. In 1841, 115 00:14:07,720 --> 00:14:14,410 Louisa married labourer, James How, and the couple immigrated to the Australian colonies in 1849 116 00:14:14,800 --> 00:14:19,600 and with their two sons under the Assisted Immigration Scheme, arriving in Port Phillip, 117 00:14:19,600 --> 00:14:27,940 Melbourne, Bunurong Boon Wurrung Country in the same year. The arrival documents classify Louisa as a "housekeeper". 118 00:14:28,450 --> 00:14:36,080 This annotation, along with her class and gender, make it unlikely that she arrived with any formal photographic training. 119 00:14:36,100 --> 00:14:46,020 However, unlike Newland, she would have experienced a culture of photography in her home country, more broadly, before her departure. 120 00:14:48,530 --> 00:14:57,230 The How family travelled north to Sydney and had precipitously ascended the colonial social hierarchy by the second half of the 1850s. 121 00:14:57,440 --> 00:15:01,309 James How was one of the principal directors of How, Walker and Co., 122 00:15:01,310 --> 00:15:06,800 a merchant shipping business based on Campbell's Wharf, on the west side of Sydney Cove. 123 00:15:07,340 --> 00:15:15,739 The How's lived across the harbour in present day Kirribilli, in Cammeraygal Country, at a waterfront homestead called "Woodlands". 124 00:15:15,740 --> 00:15:23,310 (And I've marked this on the map and these two points basically almost exactly represent the Harbour Bridge, 125 00:15:23,750 --> 00:15:29,060 ( for Anyone who's familiar with that - That's the kind of space we're dealing with here. 126 00:15:31,070 --> 00:15:40,550 Obviously, long before it was built.) In the half-decade period between Newland's departure and the How's bourgeois ascent, 127 00:15:40,570 --> 00:15:45,500 (so from being married to a labourer to living in Kirribilli) 128 00:15:45,800 --> 00:15:53,130 A plethora of photographers had opened businesses in the port city. In September 1857, 129 00:15:53,150 --> 00:15:59,330 one amateur photographer, William Haes, was lecturing on the wax paper process at the Philosophical Society, 130 00:15:59,690 --> 00:16:05,090 encouraging members who possessed interesting specimens to bring them along for discussion. 131 00:16:06,110 --> 00:16:11,929 Professional calotypist, William Hetzer, ran a commercial photography studio on George Street and 132 00:16:11,930 --> 00:16:19,220 also hosted an amateur camera club. Comprising exclusively of professional men such as himself, 133 00:16:19,700 --> 00:16:23,750 Hetzer's parties set off on weekends to photograph the urban landscape. 134 00:16:24,410 --> 00:16:30,410 The group conceived of themselves as answering the clarion call of publications like The Photographic News, 135 00:16:30,620 --> 00:16:34,170 who had columns dedicated to colonial Australian photography. 136 00:16:34,900 --> 00:16:42,229 Hetzer's parties embraced the new mobile apparatus for capturing stereo photographs, as seen here 137 00:16:42,230 --> 00:16:52,430 in an advertisement from The Photographic News. Hetzer exhibited a suite of his own stereo views in late 1858 in his studio and then, 138 00:16:52,430 --> 00:16:56,270 along with a party of 25 professional and amateur photographers, 139 00:16:56,660 --> 00:17:07,790 all of whom were male, held a tremendously sizeable show of thousands of colonial views inter-spliced with imported European and British material, 140 00:17:08,480 --> 00:17:13,940 In December 1859. So that's a bit of context. 141 00:17:14,330 --> 00:17:18,559 Louisa How may have known Hetzer and his society of amateurs, 142 00:17:18,560 --> 00:17:24,740 but on account of her gender, was excluded from his camera club and fraternities like 143 00:17:24,740 --> 00:17:30,020 the Philosophical Society where conversations about photography were taking place. 144 00:17:30,560 --> 00:17:38,630 Nevertheless, possibly after a small amount of private instruction, and after reading essays on photography and the illustrated press, 145 00:17:38,990 --> 00:17:44,510 How taught herself photography. (And I think she's working with the calotype process - 146 00:17:44,510 --> 00:17:53,290 I know it is quite late - and the early wax paper process.) Concurrent to this boom in amateur and professional photography in Sydney, 147 00:17:53,530 --> 00:18:01,030 How was assembling an album of salt prints taken across the other side of the harbour at her home in Woodlands. 148 00:18:02,020 --> 00:18:09,280 This album includes portraits of her husband and her friends, some of whom were amateur photographers themselves. 149 00:18:10,350 --> 00:18:16,050 Many of the men pose in a mock studio setting that How had staged on her balcony. 150 00:18:16,320 --> 00:18:22,140 And I am particularly fond of the portrait in the bottom left-hand corner, 151 00:18:22,350 --> 00:18:29,370 which shows the sandstone facade of house's balcony, with the sandstone colonnade, ringed with actual vines, 152 00:18:29,370 --> 00:18:33,060 which of course, becomes a motif for faux backdrops. 153 00:18:33,300 --> 00:18:44,280 And, then, How has put a bed sheet up as the reminder of the backdrop. And I think that's possibly a perfect representation of colonisation and colonial photography. 154 00:18:44,970 --> 00:18:50,280 Her subjects are captured with the regular accoutrements of portrait photography in the colonies: 155 00:18:50,290 --> 00:18:55,410 books and unfold letters, signifiers of correspondence and learning over distance. 156 00:18:55,920 --> 00:19:04,379 Somewhat uniquely, though, there is an overwhelming representation of men with stereo cards and stereo viewers giving the 157 00:19:04,380 --> 00:19:10,980 sense that Woodlands, the How's home, was also a place for discussing photographic technologies. 158 00:19:12,610 --> 00:19:21,010 How's album includes the oldest extant photographic portrait of a woman taken by a woman in the Australian colonies. 159 00:19:21,460 --> 00:19:30,940 The portrait is of How's maid, Mrs. Lamont, and is one of two photographs of women in How's album of over fifty salt prints. 160 00:19:31,540 --> 00:19:43,660 The other female subject is the Dowager Countess of Darnley, not photographed from life but from a stipple engraving. In 1982, 161 00:19:44,290 --> 00:19:47,380 Isobel Crombie, another great Australian art historian, 162 00:19:47,650 --> 00:19:55,000 traced the basis of How's portrait back to an engraving published in the 1850 edition of the English Art Journal, 163 00:19:55,330 --> 00:20:03,310 which was widely available in Sydney. Yet the engraving itself was a copy of Sir Thomas Lawrence's portrait of the Countess, 164 00:20:03,580 --> 00:20:12,520 painted originally as an oil-on-canvas and first exhibited in Vernon's Gallery in London, before being acquired by the Tate in 1847. 165 00:20:13,210 --> 00:20:19,640 The 1850 edition of the Art Journal, also contained extensive essays, 166 00:20:19,640 --> 00:20:26,560 as most of you probably already know, on photography by Robert Hunt and reflections on Talbot's patent, 167 00:20:26,560 --> 00:20:34,570 which is coming to an end, and of course, writings on the early wax paper process and experiments with glass as substrate. 168 00:20:36,620 --> 00:20:46,130 Excluded from the men's camera clubs, Louisa engaged with increasingly globalised culture of photography, transmitted through illustrated publications. 169 00:20:46,490 --> 00:20:56,240 She digested a literature about and on photography imported from overseas while following, also at a distance, local photographic activity. 170 00:20:56,780 --> 00:21:02,390 She set out to construct a colonial world, beginning with her own maid on her front porch, 171 00:21:02,720 --> 00:21:06,260 then picturing her husband and her friends, who visited her home, 172 00:21:06,560 --> 00:21:09,020 moving outward to document the maritime, 173 00:21:10,250 --> 00:21:16,870 commerce and waterways that delivered her photographic news and which spiralled right back to the Dowager Countess' 174 00:21:16,870 --> 00:21:25,460 portrait in London. Louisa How's colonial salt print album is full of contradictions and complexities: 175 00:21:26,880 --> 00:21:31,250 it is both domestic, made in her home, and expansive; 176 00:21:31,260 --> 00:21:35,340 it is definitely colonial, but it's also very sensitive; 177 00:21:35,610 --> 00:21:38,700 it is provincial and peripheral, twice over, 178 00:21:39,480 --> 00:21:45,990 yet, it is also at a centre of a conversation about photography that she is hosting. 179 00:21:46,680 --> 00:21:52,920 So, how do we conceive of either of these two photographers? 180 00:21:52,930 --> 00:21:58,509 Newland, whose first photography rooms opened in the carnival port city of New Orleans, 181 00:21:58,510 --> 00:22:02,500 using Brady cases and Scovills' plates with his own blind stamp; 182 00:22:02,950 --> 00:22:12,550 who then consolidated his practice and importantly devised an experience of photography based on his own travel through American and Pacific Ports, 183 00:22:12,850 --> 00:22:16,270 which he unpacked for Sydney audiences in 1848. 184 00:22:16,750 --> 00:22:20,319 Newland's gallery was not one of Brady-esque respectability, 185 00:22:20,320 --> 00:22:26,950 nor peopled exclusively with high-profile dignitaries as founded in Claudet's London establishment. 186 00:22:27,790 --> 00:22:34,090 Tethered to British suppliers and contingent on a received reading of illustrated publications, 187 00:22:34,510 --> 00:22:42,700 Newland's gallery, wielded the new power of photography in ways that emboldened his colonial clients. 188 00:22:43,360 --> 00:22:47,710 Louisa How's photographic practice was in some ways more sedentary than Newland's, 189 00:22:48,070 --> 00:22:54,940 yet it constellated a visual world that began on her own veranda, with her maid, and her husband, and her friends. 190 00:22:55,420 --> 00:22:58,930 It moved outward to reference the local photographic culture, 191 00:22:58,930 --> 00:23:07,690 but also scanned across the harbour to the shipping routes that delivered her photographic news and two-dimensional photographic subjects from London. 192 00:23:08,860 --> 00:23:19,060 Her album is a distilled vision and, in my opinion, a perfect meditation on what photography was as a mobile transient enterprise. 193 00:23:19,450 --> 00:23:25,839 So how do we conceive of these two aquatic practitioners of early photography, in many ways 194 00:23:25,840 --> 00:23:30,580 conceptually ahead of their time and the photographic technologies at their disposal? 195 00:23:31,030 --> 00:23:36,040 Certainly we cannot simply refer to them as British photographers away from home.