“Portrait of four girls and a man on a verandah,” Dubbo area, New South Wales, ca. 1915, by Edward Challis Kempe, via National Library of Australia Commons on flickr.
I wonder if those are scented geraniums in the planter on the left?
The Rev. E.C. Kempe was an amateur photographer and principal of the Brotherhood of the Good Shepherd at Dubbo from 1912 to 1915. The Good Shepherd was one of several “Bush Brotherhoods,” Anglican religious orders that sent traveling priests to thinly populated rural districts. “They were described as a ‘band of men’ who could ‘preach like Apostles’ and ‘ride like cowboys’,” according toWikipedia. Kempe left behind an album of 157 photographs from his time in the bush.
“Two women on veranda of rendered* cottage with shingle roof and front garden, Hill End, New South Wales, ca. 1872,” by Charles Bayliss, via National Library of Australia Commons on flickr.
Hill End was a gold rush town. At the time of this photo, “it had a population estimated at 8,000 served by two newspapers, five banks, eight churches, and twenty-eight pubs,” according to Wikipedia. The rush was over by the early 20th century. In 2006, the town was down to 166 people.
The photographer came to Hill End as an assistant to a traveling photographer who had been contracted to take pictures of the area that could be used to advertise the mining colony and attract new residents.
“Charlie Ferguson’s sister,” Tilba Tilba, New South Wales, ca. 1895, by William Henry Corkhill, viaTrove of the National Library of Australia.
I love this formal pose in front of a vegetable garden — and it’s very typical of the photographer’s work.
Corkhill was an amateur who took thousands of pictures of his prosperous dairy farming community between 1890 and 1910.
His images were rediscovered in 1975, when his daughter gave his surviving glass plate negatives to the National Library. Among the 840 that could still be printed were portraits of family and neighbors of a “special intensity and intimacy,” according to the book, Taken at Tilba.
For the natural light, Corkhill had to work outside, in gardens and farmyards. But he often posed his subjects as if they were in a studio, with small tables, chairs, and books. His backdrops were sometimes shrubs and flowers, but he also seemed satisfied with rough fences, water tanks, or the space between two farm sheds. Occasionally, the sitters look a little amused by the process, but the photographer’s approach is not ironic.
“Corkhill’s familiarity with and affection for his subjects is evident . . . and imbues his photographs with a strange combination of authority and informality. He has a rather casual approach to the backgrounds in his portraits, as if his familiarity with the scenes he records makes him impervious to some of their oddities,” according to his biography on the Library’s website.
You can click on the linked titles below to see more of his pictures, or you can browse through the online catalog here.
Corkhill was an amateur photographer who took thousands of pictures of his family members and neighbors between 1890 and 1910, often posing them in their gardens. In 1975, his daughter gave his approximately 1,000 surviving glass plate negatives to the National Library.