This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, walter withers

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, john borrack

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, margot knox

Small rectangular cardboard box containg a black cylindrical metal and rubber flashlight or torch. The outside of the cardboarch container has black ink markings for identification and manufacture. A white printed ID label containing a barcode is attached to the bottom of the box. The pocket light has a metal attachment clip on its side and a rubber covered on/off switch on the bottom of the light. The body of the light has a knurled section for grip. The lens top section of the field pocket light unscrews of the body to enable the top of the pocket light to be unscrewed to enable battery insertion.FPL-3000 Military Pocket Light Made in Australia NSN no: 6230 66 139 1304 Ocean Graphic Pty. Ltd. Melbourne, Victoria, AUSTRALIA. *6230661391304023* FPL-3000 Black/Green Filter The field pocket light has the NSN marking 6230-66-139-1304 with the Department of Defence arrow marking at the side of the top of the flashlight.fpl-3000, military, field pocket light, australian military

Coronet was first popular- class camera released in 1961 as distinct from the high and expensive class.Canon Canonet 35mm camera with light meter around and Cannon Lens SE,45mm,1.19. Made by Canon Camera co Inc. speed B(bulb) to one 500th for a second (11 settings), auto made and 'f' setting from 1.9 to 16. Self timer. Camera has a steel base with a satin chrome finish and a leatherette band around camera. Rewind lever and film forward lever on back.Camera has leather carry case in two pieces and strap. Provision for a flash to be fitted. Three items in the set.Canon Canonet, Canon Camera Co Inc made in Japanphotography, cameras

Black and white photograph of Barkly St. Mt Pleasant taken with a long telephoto lens. Single truck Tram on the top of a hill at terminus, with the photographer on or near the top of the`next hill in centre of track. Four cars travelling towards photographer. Sign of Caltex Service station on right side of photograph. with trees on left. Shows nature of street construction - deep gutters with "bridge" crossings. See also item No. 559, possibly tram No. 31. Would appear to be taken at about the same time, not parked Holden station wagon on left hand side of photo.trams, tramways, ballarat, barkly st, mt pleasant

Yields information the operation of Bendigo trams in View St Bendigo, on the Eaglehawk route, and the delivery of the tram to Eaglehawk following closure.Black and White photograph of Bendigo No. 26 climbing View St, Bendigo with the destination of Eaglehawk and a "Borough of Eaglehawk sign" on the front dash panel. Photo taken with a large telephoto lens to show up the hill. Has Mitchell St in the background and a number of cars in the foreground. Photo taken on the last day of operation - used in Keith Dunstan's "A Place in the Sun" 17/4/1972. Herald Sun newspaper photograph. Printed on Agfa paper. For a copy of the newspaper article see Reg. Item 2229. See A Place in the Sun 17/4/1972.On rear in ink "ED15/215" and "17/4/72" in ink and a "Herald Sun Newspaper copyright" stamp - very faint green ink.tramways, trams, bendigo, eaglehawk, closure, view st, tram 26

Douglas' painting shows a mud farm cottage in Kangaroo Ground. The mud brick cottage at 145 Henley Road is on the Victorian Heritage Database This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues. sepp, shire of eltham pioneers photograph collection, neil douglas, kangaroo ground, roads

Clifton Pugh (1924-1990) was born at Richmond Victoria, and educated at various schools including Briar Hill Primary, Eltham Higher Elementary School and Ivanhoe Grammar. He studied art at the National Gallery School of Victoria 1948-52. Pugh is recognised as a one of Australia’s foremost painters. He is represented in major galleries throughout the country and overseas. He founded the “Dunmoochin” artists colony at Cottles Bridge.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.clifton pugh, sepp, shire of eltham pioneers photograph collection, self portrait

Used by students attending surveying classes at the School of Mines & Industries, Ballarat.Surveyor's level caste in metal with brass trimmings. Features external focus, twin inclined vertical crosshairs with stadia wires. With ray-shade clinomenter. Three levelling screws. Without transverse level (mounting provided). dust shield for object. Features glass lens x 2. Timber carry case features dovetailed joints, separate lid attached to body of case with two brass piano hinges along back side. Case has a metal carry handle screwed to each end. Matches tripod Item 4116 Item's serial number: 99142*The timber lid of the carry case has 'L3' painted on it in white paint. *The paper label glued to reverse side lid of inside carry box reads: STANLEY'S PATENT LEVELS AND THEODOLITES No.99142 July 1899 STADIA POINTS SET=1 : 100. In taking readings of a distant staff by means of the subtense points in the diaphragm, read every 1/100 foot (or metre) on the staff as being equal to one foot (or metre) of distance from the centre of the instrument adding to the reading of plus constant of 18 3/4 inchess from any distance shown. W.F. Stanley, Great Turnstile, Holborn, London. *The paper label glued to lower edge inside lid of carry box reads: N. H. SEWARD, "Optical House" 457 BOURKE STREET (Near Queen Street) MELBOURNE *Engraving on brass plate encompassing the catch on front edge of the timber carry case reads: H&C L (inside an engraved heart on LSH) EUCHRE LEVER (engraved on RHS of brass plate) *Maker's mark is engraved along the length of the telescope barrel: 99142 Stanley. Great Turnstile Holborn, London. level, theodolite, surveying instrument, surveying, scientific instruments

Pittock coach builder's box: Old railway lamp, marked origin unknown, probably belonging to A. E. Pittock * stored in paper bag as detailed, refer 13000.44a * steel, glass construction * lamp is 310 mm tall, 150 mm round * lamp has three adjustable filters ( red / broken, blue and space for third (clear!) lens, which are set by rotating the handle to fixed loacations * lamp lit by kerosene wick, refer 13000.44e & f, brass container with mirror behind wick to intensify the light Item stored in Pittock coach builkder's box, reference 13000.1.

Kodak Retina 1a 35mm bellows camera with extending bellows, in a leather case (.02) and an Instruction book (in German .03). The camera has a chrome trim with leatherette over the rest of the steel forming the body of the camera. It has a Retina Xenar F 2.8/50mm, Schneider - Kreuznach 2668277 lens covering speeds from B (bulb) to 1/500th of a second and an aperture opening of f2.8 to f16. Provision for a hot flash and various film speeds. Film advance lever with indicator showing number of photos taken. An old cartridge (.04) is loaded in the camera. Four pieces make the set.Kodak Retina Camera|Retina 1a|Kodakphotography, cameras

White cardboard mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of a bogie tram on the reserved track between Ophir St and the terminus - telephoto lens. Note tram stop signs, aerial phone lines, the condition of the track and the gravel crossings. The film strip notes (Reg. Item 2560), provided the following caption details: "Years of neglect of trackage shows up here near Sebastopol as a bogie car approaches in the distance. - Sept '71 (Graham Evans)" See image btm2577p.tif for high level scan of image. Stamped on base of slide "11787" and written in ink on top edge "Sebastopol line"tramways, trams, are, film strip, albert st, sebastopol, tram 38

This model was used in lectures in the College from the mid 20th century. An ophthalmotrope is a mechanical model constructed to demonstrate the movements of the eyes and the actions of the various muscles which produce them. The first ophthalmotrope was made by Theodore Reute in 1845 and it was he who gave it the name 'ophthalmotrope'. Frans Donders (1818-1889) became interested in eye movements on reading Reute's work, and his subsequent studies were of physiological interest and also provided the basis for principles underlying the correction of squint. Because of the complexity of the actions and counter actions of the eye muscles, ophthalmologists of the 19th century sought a practical solution with the construction of mechanical models. Reute's second model of 1857 was more sophisticated. Its eyeballs contained lenses and the optical system could be moved backwards and forwards to simulate accommodation. Later ophthalmotropes are known by Landolt, Knapp and Snellen.This ophthalmotrope is the one that was used as a teaching aid in the College from the mid 20th century.Brass framed model to illustrate actions of extra-ocular muscles. Two painted wooden globes mounted in brass frame with coloured strings attached to brass weights positioned to show actions of various extra-ocular muscles. Also wooden storage box. Materials: brass, metal, wood, string.optometry, ophthalmology, ophthalmotrope, eye, eye movements, extra ocular muscles, eye muscles, eye teaching

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

The development of stereoscopic photography views or stereographs was immensely popular in the United States and Europe from about the mid-1850s through the early years of the 20th century. First described in 1832 by English physicist Sir Charles Wheatstone, stereoscopy was improved by Sir David Brewster in 1849. The production of the stereograph entailed making two images of the same subject, usually with a camera with two lenses placed 6 cm apart to simulate the position of the human eyes, and then mounting the positive prints side by side laterally on a stiff backing. Brewster devised a stereoscope through which the finished stereograph could be viewed; the stereoscope had two eyepieces through which the laterally mounted images, placed in a holder in front of the lenses, were viewed. The two images were brought together by the effort of the human brain to create an illusion of three-dimensionality. Stereographs were made of a wide range of subjects, the most popular being views of landscapes and monuments and composing narrative scenes of a humorous or slightly suggestive nature. Stereoscopes were manufactured for various price ranges and tastes, from the simple hand-held device introduced by Oliver Wendell Holmes who promoted stereography through articles to elaborate floor models containing large numbers of images that could be flipped into place. The stereograph became especially popular after Queen Victoria expressed interest in it when it was exhibited at the 1851 Crystal Palace Exposition. Like television today, stereography during the second half of the 19th century was both an educational and a recreational device with a considerable impact on public knowledge and taste. The Fine-art Photographers' Publishing Co. published many stereoscopic pictures from many different photographers from around the world under license. They also not only sold these images of various scenes and of famous people of the time but also were retail sellers of the viewers with the subject item having been made in the USA probably by H C White who held the patent for the subject items design from 1895 to 1902.An item that was very popular from the mid 19th century through to the beginning of the Edwardian period. Used for entertainment and also educational purposes and significant as it gives us a snapshot into the Victorian era and its social and domestic societal norms. Stereoscope viewer with adjustable view-finder that has a padded nose rest. The slide holder can move along the channel to suit the viewer. Made in London by the Fine-art Photographers' Publishing Co. Printed on metal plate "THE FINE-ART PHOTOGRAPHERS' PUBLISHING CO. 48 Rydevale Rd, LONDON, S.W." Embossed on viewing cup "U.S.A. PATENT OCT.15.1895" "CANADA / FRANCE / GERMANY / D'R''G'M' NO. 53803" "JUNE 3.1902 / FEBY 1.1896 / B.S.G.D.B. / GREAT BRITAIN / AUSTRIA / BELGIUM"warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, stereoscope, stereographs, stereoscope viewers, home entertainment

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (2) Black and white print 25 x 20 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues.sepp, shire of eltham pioneers photograph collection, margo pedersen

Reproduced page 114 of Pioneers & Painters, edited by Alan Marshall (1971) Source: Sydney Cooke Chemical Pty LtdThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Black and white print 15 x 23 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, peter glass

Reproduced page 124 of Pioneers & Painters, edited by Alan Marshall (1971) Source: Mr. E.C. Pelling, Kangaroo GroundThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Black and white print 15 x 23 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, david armfield

Reproduced page 125 of Pioneers & Painters, edited by Alan Marshall (1971) Source: Mr. Don Vidler, Reynolds Rd., Wattle GlenThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Black and white print 21 x 16 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, don vidler

Reproduced page 132 of Pioneers & Painters, edited by Alan Marshall (1971) Source: National Gallery of VictoriaThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Black and white print 16 x 21.5 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. Significant light flare is reflected off glossy surface of original work at camera lens at lower left and right sides causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection, jo sweatman

This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.4 x 5 inch colour reversal film (1) Black and white print 15.5 x 21.5 cm Condition: May not be true to colour of original work. Scanned from a 4 x 5 inch colour transparency which was taken c.1970 (approx. 50 years old) and which has undergone significant colour degradation towards the red spectrum. Allowances made for colour cast correction in scan with best guess for white balance. In some cases, significant light flare is reflected off glossy surface of original work at camera lens causing quality issues. artist, pioneers and painters, sepp, shire of eltham pioneers photograph collection,a.e. newbury, albert ernest newbury

These binoculars were originally held in the Headquarters of the Pacific Islands Regiment in New Guinea. In February 1946, Colonel H. T. Allan OBE, MC, ED was presented with the binoculars to bring home as a souvenir. Refer Cat No 2755.4 for his extensive career and awards. During World War 2, they were used by a Japanese Army artillery unit.A tall and heavy set of binoculars comprising the binoculars set and a tripod base with wooden legs. The binoculars are attached to the tripod via a circular metal base plate with a small levelling bubble on the surface. The base plate is marked in degrees from zero to 360. Between each lens tube is an aiming device. The top of the tripod has a winding mechanism for raising and lowering the height of the binoculars. On the right hand side of the binoculars is a marked gauge which allows them to be tilted at different angles of elevation. Each of the eyepieces is able to be adjusted to fit the user's face. A silver metal manufacturer's plate is attached to the top of the binoculars.On the silver manufacturer's plate: Details in Japanese writing.military equipment, military history, herbert trangmar allan, japanese army, binoculars

Black case containing Siemens movie projector. The carry case has an opening in top for handle to come through and two locking tabs on bottom of two sides and Siemens metal label on side. Camera is dark grey with two folding reel holders, one of which doubles as a carry handle through case top. Camera has electric cord and power switch on bottom right with two other switches. Two sides fold down, probably for cooling. Lens has siemens name on it and is focusable. Reels are driven by spring belts. Number H77702 on small tag on side above switches.SIEMENS ASH BESTER & CO. H77702photography, projectors

The brass wall clock retains its key. It was provided by the Department of Shipping and Transport in about 1900 and is original to the lightstation. It was mounted in the watchroom, a small extension at the front of the lighthouse (later radar station), where lightkeepers completed many of their reports and recorded radio schedules, weather observations, distress calls and other data. Good, reliable clocks were also essential for maintaining a strict roster of hours for winding the clockwork mechanism that kept the lens active. The name of the clock’s manufacturer has not been determined. More specifically it was used for logging radio schedules that were made at five minutes to midday, everyday, and for recording the times of weather observations, distress and any other calls that came in. AMSA notes that ‘Lightkeepers who used this clock were said to have polished and wound it every week while it was in use until the 1990s when its otherwise impeccable time keeping mechanisms finally became inaccurate’.The brass clock at Wilsons Promontory illustrates the importance of timekeeping in a nineteenth century lighthouse. Despite its slightly chipped face, the timepiece has first level contributory significance for its historic association with the watch room and confirmed provenance. The significance of this clock also lies with its complete provenance..1. Brass clock with a circular white face and black roman numerals. Three brackets at back to attach to wall. Face of clock is covered by a hinged glass cover with a fastener. .2. key. Roman numerals on face of main clock. "1-12" On inner dial "10-20-30-40-50-60"

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis’ photograph Malcom Fraser, VFL Grand Final 1979 we see a young supporter shake hands with Liberal Prime Minister, Malcom Fraser. In the grand Australian tradition, politicians and PMs are active in the football sphere. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis capturing the nations love of the game. Donated by the Rennie Ellis Photographic Archive

The Optacon OPtical-to-TActile-CONverter is a compact, portable reading aid for the blind. It is about the size of a textbook, and weighs less than 2kg. It works by converting a printed image into a tactile image that a blind person can feel with one finger. After a period of training and practice, a blind person can use the Optacon to read ordinary books, magazines, newspapers, and other printed materials. The Optacon was developed after intensive research at Standford University, California, USA and was trialed by clients of the Royal Victorian Institute for the Blind (now part of Vision Australia) in 1973. It has three main sections: 1 a miniature camera, 2 an electronics section, and 3 a tactile stimulator array. The miniature camera, about the size of a pocket knife, is mounted in a housing that has rollers for easy movement along a line of print. The camera is connected to the electronics section by a lightweight cable. The electronics section and the tactile stimulator array are in the main chassis. The array consists of 144 tiny metal rods arranged in six vertical columns and 24 horizontal rows. Each of the rods can vibrate independently. The tips of these rods protrude through holes in a concave finger plate where the index finger is placed flat in order to read. These three components act together to convert the image of a printed letter or other shape into a pattern of vibrating rods, a tactile image of the letter or shape. The letter shape is tactually perceived as an image that moves from right to left on the finger, showing the left or leading edge of the letter first. Letters are felt sequentially rather than all at once, and the image should be kept moving. The Optacon converts a printed O into a tactile form that resembles a crater with a vibrating rim -- a completed circle. C would have a gap or opening on the right side of the curve. The letter F would be felt, sequentially, as a vertical line with two trailing horizontal lines. Because it can convert any ordinary printed image into a corresponding tactile image, the Optacon is not restricted to any special typestyle or language. The camera has a zoom lens that compensates for differences in the size of type. The standard Optacon lens can accommodate type sizes from 6 point to 20 point. With the optional F4A magnifier lens, type sizes as small as 4 point can be read. Powered by a rechargeable battery, and comes with its own battery charger. The battery is contained within the main chassis, and is not removable by the user. There are four basic controls on the Optacon: the Magnification Adjustment zoom button located on the camera section on the side opposite the rollers; and the On-Off switch, the Stimulator Intensity Adjustment knob, and the Threshold Adjustment knob located on the right side of the front panel. The Circuit Breaker protrudes from the right-hand wall inside the chassis compartment. From left to right when the back panel is facing you, are located: the jack for connecting the battery charger; the Battery Check button; the Normal-Invert switch; and the Input/Output I/O connector for use with the Visual Display, when using the Repeater Cable to connect two Optacons to one another or with other accessories. Designed not be removed from the leather case during normal operation, the On-Off switch is a slide switch located on the right side of the front panel. It slides up and snaps into place in the on position. 1 black with orange front, rectangular device in leather case assistive devices, audio equipment

Colour postcard of Swanston St. Melbourne during a busy time, with many trams in view. Taken with a telephoto lens near Latrobe St., looking down at Lonsdale St. Intersection. Front tram is W2 484, showing CITY, inbound on route 64. Other trams are 364, 229. Has about 14 trams in photo. Shrine of Remembrance in far background. Has on rear caption, "National View" by Murfett Pty Ltd. Australia, place for address and stamp. Taken prior to fitting marker lights on the W2's. A wide body car in the background appears to have been fitted with them. Assume photo taken early 1970's.trams, tramways, melbourne, swanston st, postcards

Colour postcard of Swanston St. Melbourne during a busy time, with many trams in view. Taken with a telephoto lens near Latrobe St., looking down at Lonsdale St. Intersection. Front tram is W2 484, showing CITY, inbound on route 64. Other trams are 364, 229. Has about 14 trams in photo. Shrine of Remembrance in far background. Has on rear caption, "National View" by Murfett Pty Ltd. Australia, place for address and stamp. Taken prior to fitting marker lights on the W2's. A wide body car in the background appears to have been fitted with them. Assume photo taken early 1970's.trams, tramways, melbourne, swanston st, postcards, tram 484, tram 364, tram 229