ill, p.48.non-fictionA photographic journey from the collection of Weston Langford.photography - weston langford, australian folklore. special subjects: railway services. personal observations. collections.

ill, p.48.non-fictionA pictorial profile of photographer Doug McLeanphotography - doug mclean, locomotives -- australia -- pictorial works

ill, p.48.non-fictionA photographic profile from the Jim Seletto collection, former engine driver on the Victorian Railwaysrailroad operations - australia - history, photography - jim seletto

The Ballarat School of Mines was established in 1970 and was the first school of Mines in Australia.A number of Ballarat School of Mines Annual General reports bounds in a dark blue hardcover with black leather spine. Includes some illustrations such as the Ballarat School of Mines Senior Staff.mining, mining alumni, geometry, steam, botany, ballarat school of mines, alfred mica smith, j f usher, andrew anderson, chemistry, metallurgy, a e c kerr, henry j hall, veterinary science, robert e weir, assaying, mineralogy, petrography, algebra, trigonometry, applied, mechancis, land surveying, mine surveying, dynamics and heat, sound and light, magnetism and electricity, carpentry and joinery, architecture, photography, john warrington rogers, james bickett, thomas wanliss, henry cuthbert, museum, william huey, steele, and, gas, engines, mine managers certificate, john m sutherland, charles e campbell, cyanide plant, mining laboratory, samuel thornton, daniel walker, percy osborne, robert allan, hubert murphy, charles deane, ernest trend, thomas evans, alfred johnston, boer war, richard maddern, underground, ferdinand krause

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

ill, p.32.non-fictionA pictorial of photographs from Douglas A. Colquhoun.photography - douglas a. colquhoun, railroads - operations - australia

ill, p.32.non-fictionA pictorial of photographs from John Burgessrailroads - operations - australia, photography - john burgess

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

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.

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.

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 young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

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.

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.Donated by the Rennie Ellis Photographic Archive

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.Donated by the Rennie Ellis Photographic Archive

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.Donated by the Rennie Ellis Photographic Archive

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.Donated by the Rennie Ellis Photographic Archive

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

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.Donated by the Rennie Ellis Photographic Archive

Teacher: Mr Griffith Back Row (L-R): Mr Griffith, - , - , John Hopkins , Ronny Morris, Michael Oldfield, Rex Jobling , -, - , - , Geoffrey Jones, Barry Moar, David Stokes Middle Row (L-R): - , Avis Barnes , Pam Geer , Prue Kimber , Dirkie Herholdt, - , Bronwyn Conibear , Joy Chapman , - , - , Alan Pittman Front Row (L-R): Neil Twyford , - , Beverley Bradbury (nee Stokes), Susan Gill , Helen Taylor , Thelma Baxter , - . Students in grade either not present or unidentified include Faye Helmers, David Knight, Robin Hayes, Bruce Treganan Photography by Rural Photographic Service of Australia, 8a Bankly Avenue, Malvern, Vic. 5303/5 Digital copies scanned by EDHS from originals held by Barry Moar, of Greensborough, Vic, 17 Jul 2017 and Margaret Harding (nee Joy Chapman.) 15 Nov 2024. Keith and brother Barry Moar moved to Eltham in March 1944 where they attended the State School (elder brother Keith from 1949) in Dalton Street. They lived at 11 York Street in a house rented from Ernie Andrew at a cost of £2/week. Other items of note advised by Barry and Keith Moar: Michael Oldfield was killed in a car accident in South David Stokes, son of Frank Stokes who operated Stokes Orchard was killed in the Black Saturday fire of 7 Feb 2009. It snowed in Eltham in 1952 or 1953 Andy Matthews was on HMAS Voyager when it was sunk by HMAS Melbourne. Carleen Golgeth's mother used to drive her to school in a c.1928 Rolls Royce taxi (phaeton?)Digital copy of black and white photograph x 21953, eltham state school, state school no. 209, grade iii, alan pittman, barry moar, david stokes, geoffrey jones, michael oldfield, mr griffith, neil twyford, ronny morris, margaret harding (joy chapman) collection, barry moar collection, arthur roberts, avis barnes, barry (andy) matthews, ben rutley, beverley bradbury (nee stokes), bronwyn conibear, bruce treganan, carleen golgeth, class photo, david knight, dirkie herholdt, dorothy uren, eltham primary school, eltham state school no. 209, faye helmers, grade v, helen taylor, ian newlands, john hopkins, john squires, johnny morris, joy chapman, keith moar, margaret butterway, margie? reed, marjory bredle, maureen davis, max goldsworthy, michael sinclair, mr jobling, mr phillips, nina macbeth, pam geer, pat davison, peter brown, peter mccann, prue kimber, rex jobling, robert eisma, robin hayes, stafford davison, susan gill, teddie mynott, thelma baxter, yvonne box

BHS CollectionBus Service Time Table: Quarry Hill Bus Service operated by R. Houlden's Bus Service Pty Ltd. Phone Bendigo 424. Buses Available for Charter - Picnics - Tours. Time Table Effective March 1960. Advertising of the tri Fold Brochure is the Bendigo Fashion House 270-272 Hargreaves Street Bendigo Phone 3-47496. Mamouney's home furnishings, Williamson & Queen Streets Phone 3-0496.Fletchers International Food Store 344a Hargreaves St (Opp State Savings Bank) Phone 3-5684. Prime Poultry and Continental and Australian Delicacies. T. Chamberlin canvas and sporting goods. Monumental & Building Masons, Northern Terrazzo Co. Suttons Music Store. Ashman's Men's Shop. Reg. V. Brock Photography. Gillies Bros. Bakery. Miller Bros Deborah Stores Groceries. Box 625Arthur Hocking, Print, Bendigotransport, bus, quarry hill

ORIGINAL SEPIA PHOTOGRAPH BY GLEDMAN & CO, ROYAL ARCADE, MELBOURNE,VICTORIA, AUSTRALIA. JOHN ELLIS CENTRE OF PHOTO (WITH BEARD).PHOTOGRAPH OF MR. JOHN ELLIS WITH HIS DIAMOND DRILL RIG - CLUNESearly citizens, local history, photography, photographs

Projector was used at Christ Church Anglican Church Mitcham (now All Saints Mitcham) for showing film strips to the congregation, Sunday School and youth groups.Early 'Shelton' film strip projector in a steel grey painted and hinged metal case with carrying handle. Projector has been finished in a 'hammered' meta paint with a large transformer as its base. It is a 240 volt projector. The film strip is manually rolled through the slots of the projector to show each frame separately. Project lens is adjustable for focus and it has a small angle of adjustment foe aligning the image on the screen.Shelton Projector Made in Australiaphotography, projectors

This is a set of 28 photographs taken in 1985* during 4th Field Survey Squadron’s driver training preparation and packing at Keswick Barracks, Adelaide SA, in preparation for Operation NERVOSE. Operation NERVOSE 85 was mounted by 4 Fd Svy Sqn in the EAST ARNHEM, VICTORIA RIVER DOWNS AND DALY WATERS areas of the Northern Territory from 26 May to 18 Sep 85. The aim of Operation NERVOSE 85 was to finalise the horizontal and vertical control for mapping at a scale of 1:50,000, to field check 40x 1:50,000 preliminary maps and to obtain mapping photography in support of the RAAF TINDAL redevelopment project. *Note –These photos were most likely taken in 1985, contrary to the ‘1987’ date annotated on the negative sleeves. The Op NERVOSE 85 Project Report available on RASVY’s web site lists a nominal roll of personnel. Photos of 4 Fd Svy Sqn taken in 1985 and 1987 provide names of posted personnel. Several personnel identified in these photos were posted to 4 Fd Svy Sqn in 1985, not in 1987. See items 6504.13P, 6506.16P and 6507.20P for more photos taken prior to and during Operation NERVOSE 85. This is a set of 28 photographs taken in 1985 during 4th Field Survey Squadron’s driver training preparation and packing at Keswick Barracks, Adelaide SA, in preparation for Operation NERVOSE. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) to .9) - Photo, colour, 1985. Driver training. Unidentified personnel. .10) - Photo, colour, 1985. Driver training. Bent trailer hitch shaft. .11) - Photo, colour, 1985. Theodolite set-up. L to R: CPL Kevin Whitty, CPL Alan ‘Hawkeye’ Hawkins. .12) to .14) - Photo, colour, 1985. Theodolite practice. L to R: CPL Alan ‘Hawkeye’ Hawkins, CPL Kevin Whitty. .15) - Photo, colour, 1985. Pre-packing and preparation. .16) - Photo, colour, 1985. Pre-packing and preparation. L to R: SGT Roger Rees, CPL P. Kennedy, unidentified. .17) - Photo, colour, 1985. Pre-packing and preparation. L to R: unidentified (x6), CPL Pat Drury. .18) - Photo, colour, 1985. Pre-packing and preparation. CPL Bill Choy. .19) - Photo, colour, 1985. Pre-packing and preparation. Unidentified personnel. .20) - Photo, colour, 1985. Pre-packing and preparation. L to R: LCPL Chris ‘Charlie’ Brown, WO2 Stevo Hinic, CPL Andy Lucas, SSGT George Timmins, unidentified (x3). .21) - Photo, colour, 1985. Pre-packing and preparation. L to R: MAJ Peter Bion – OC, unidentified officer, CPL Andy Lucas, SSGT George Timmins, WO2 Stevo Hinic, unidentified. .22) - Photo, colour, 1985. Pre-packing and preparation. L to R: MAJ Peter Bion – OC, unidentified officer, unidentified, SSGT George Timmins, WO2 Stevo Hinic, unidentified. .23) - Photo, colour, 1985. Pre-packing and preparation. L to R: unidentified, CPL Andy Lucas, MAJ Peter Bion – OC, unidentified officer, SSGT George Timmins, WO2 Stevo Hinic. .24) - Photo, colour, 1985. Pre-packing and preparation. L to R: SSGT George Timmins, CPL Bill Choy. .23) - Photo, colour, 1985. Pre-packing and preparation. L to R: Stevo Hinic, CPL Andy Lucas. .26) - Photo, colour, 1985. Pre-packing and preparation. L to R: CPL Kevin Whitty, SPR Dave Lambdon-Young. .27) & .28) - Photo, colour, 1985. Pre-packing and preparation. L to R: CPL Andy Lucas, Stevo Hinic..1P to .28P – There are no personnel identified. ‘1987 OP NERVOSE PRE-PACK.’ annotated on negative sleeve.royal australian survey corps, rasvy, 4 fd svy sqn, op nervose 85