This camera has representative significance as a replica of a model used widely during the 1950's.Black box with handle, lens and film opening clip on upper face, view finder, lens open close shutter and winder on left hand side, Inner compartment opens outwardly with clip to store film. Yellow and red descriptive sticker on upper lid, Use Kodak 620 Films. Front face gray and sliver striped plate,Brownie Flash II Camera , Kodet Lens ,Kodak Australia Pty Ltd Melbourne Australiacamera, pictures, film, photography, kodak

This is the original photo envelope that the photos in this series came in when they were picked up from the developer. The photos were stored in this envelope, with information added identifying the event to which they relate.COL scan of a grey photo envelope. Printed on the centre right of the envelope is the Kodak Express text and logo, with the text "WE USE" in the top right corner of the logo, and "QUALITY MONITORING SERVICE" in small text at the bottom of the logo. Beneath the logo, there is the text "Quality you can trust." Printed text in the top left corner of the envelope is, "date" and "subject". Printed text (partially obscured) in the bottom left corner of the envelope includes, "775 Glenhuntly Rd Caulfield Sth, 3162" and "TELEPHONE & FAX: 03 9523 0163". Printed text (partially obscured) in the bottom right corner of the envelope includes, "PROCESSING AND PRINTING", "...CD & FLOPPY DISK", and "CD WRITING".[Handwritten in red ink in the top left corner] WOD Oct99. World Osteoporosis Day [Handwritten in pencil on a large white label] Come n' Try Day for World Osteoporosis Day @ Shelford School 1999 - see Tim for names of presenters [On the same white label, handwritten in black ink] SOME IN ALBUMkodak express, photo envelope, photo developer, film photography, classic photography, 1999

The box camera is an early type of camera.Box camera, black and silver. 6 x 9cm pictures, 120 film.Front: Manufactured by/Coronet Ltd., England/Ambassador/ 2 1/4" x 3 1/4" 6 x 9 cm (printed, front)photography, film, camera, box camera

Grey metal projector with glass viewing box. Dual wide Super 8 Film ProjectorFront: G. gakken (logo)projector, film, home cinema, photography

Lantern Slides advertising the Ballarat School of Minesballarat school of mines, lantern slides, photography, film, val morgan

Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The Wild GZ1 orthophoto projector shown in photo.1P was introduced in 1973 and was the first equipment used to orthorectify colour and monochrome film aerial photography. Height profiles were originally produced on a PEB8 Stereo profiler and later were software generated. Photos of the PEB8 are available in Victorian Collections item 6222.17P, photos .5P and .6P. In the same era the IBM 1130 computer; OMI/Nistri AP/C-3 analytical plotter with coordinatograph, OP/C orthophoto projector and Zeiss Planimat D2 stereoplotters were introduced. Orthorectification is the process of removing geometric distortions and scale errors/variations from images. Images have tilt and relief distortions that make it difficult to compare accurately a map and an image of the same geographic area. Once an image is orthorectified, features on the image are shown in their planimetric locations. The WILD OR1 orthophoto projector and workstation shown in photos .2P to.4P was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. See items 6124.5P and 6133.4P for more photographs of orthorectification equipment.These four photographs of orthorectification equipment were taken at the Army Survey Regiment at Fortuna, Bendigo, c1975 and c1988. The photos are on 35mm colour slides and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1975, Wild GZ1 orthophoto projector. .2) - Photo, colour, c1988, WILD OR-1 unrectified colour photo in carrier, orthorectified and re-scaled colour image. .3) & .4) - Photo, colour, c1988, WILD OR-1 Orthorectification Workstation.1P to .4P – Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, asr, army svy regt, fortuna

The main tasks undertaken by technicians operating the KLIMSCH Commodore large format camera were enlargements and reductions of map reproduction material. seen in photo .1P is at the operating console. See item 6189.4P for more information and photos of CPL Whaling operating the KLIMSCH camera. Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The WILD OR1 orthophoto projector and workstation shown in photos .3P and .4P was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. See items 6124.5P and 6133.4P for more photographs of orthorectification equipment.These four photographs of KLIMSCH large format camera and Wild OR1 orthorectification equipment was taken at the Army Survey Regiment at Fortuna, Bendigo, c1986. The colour photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, colour, c1986, CPL John Whaling operating the KLIMSCH Camera. .2) - Photo, colour, c1986, large format film developer. .3) - Photo, colour, c1986, WILD OR-1 Orthorectification Workstation operated by CPL Dave Jobe. .4) - Photo, colour, c1986, WILD OR-1 Orthorectification Workstation..1P to .4P – There are no annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This collection of four photos was most likely taken at Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo in 1988. Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The OR1 orthophoto projector and workstation was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. Orthorectification is the process of removing geometric distortions and scale errors/variations from images. Images have tilt and relief distortions that make it difficult to compare accurately a map and an image of the same geographic area. Once an image is orthorectified, features on the image are shown in their planimetric locations. These four photographs of orthorectification equipment in operation were taken at the Army Survey Regiment at Fortuna, Bendigo, 1988. The photographs were on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .4) - Photo, black & white, 1988, WILD OR-1 Orthorectification Workstation, SPR Carmel (Butler) Fauth.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho

Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The Wild GZ1 orthophoto projector was introduced in 1973 and was the first equipment used to orthorectify colour and monochrome film aerial photography. Height profiles were originally produced on a PEB8 Stereo profiler and later were software generated. Photos of the PEB8 are available in Victorian Collections item 6222.17P, photos .5P and .6P. In the same era the IBM 1130 computer; OMI/Nistri AP/C-3 analytical plotter with coordinatograph, OP/C orthophoto projector and Zeiss Planimat D2 stereoplotters were introduced. Orthorectification is the process of removing geometric distortions and scale errors/variations from images. Images have tilt and relief distortions that make it difficult to compare accurately a map and an image of the same geographic area. Once an image is orthorectified, features on the image are shown in their planimetric locations. These four photographs of orthorectification equipment were taken at the Army Survey Regiment at Fortuna, Bendigo, c1975. Photo .1P and .3P were printed on photographic paper and scanned at 300 dpi. Photos .2P, .4P and .5P were on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, c1975, Wild GZ1 orthophoto projector operated by CPL Phil Boyle. .2) - Photo, black & white, c1975, Wild GZ1 orthophoto projector. .3) - Photo, black & white, c1975, Wild GZ1 orthophoto projector. .4) - Photo, black & white, c1978, Zeiss D2 Planimat Stereoplotter. .5) - Photo, black & white, c1978, Zeiss D2 Planimat Stereoplotter..1P to .5P No annotations.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This is a set of 16 photographs of a visit to the Army Survey Regiment, Fortuna, Bendigo by the Commander 3rd Military District BRIG P. Davies AM, ADC on the 23rd and 24th of October 1989. In this set BRIG P. Davies AM, ADC was taken on a tour through the orthophoto production area. In photos .1P to .3P and .6P BRIG P. Davies AM, ADC presented a productivity award to CO LTCOL John Winzar in Fortuna’s Ballroom. LTCOL Winzar was the CO of the Army Survey Regiment from 1987 to 1989. The WILD OR1 orthophoto projector and workstation featuring in photos .7P to.10P and .12P to .14P was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. See items 6124.5P, 6133.4P and 6228.4P for more photographs of orthorectification equipment. Photos .15P and .16P feature contractors preparing the foundations for the construction of Lithographic Squadron’s new Printing Building at Fortuna, Bendigo. The building was purpose built to house a new computer-controlled Heidelberg Speedmaster five colour lithographic offset Printing Press. The print room was named Wayzgoose Hall after a medieval printing house festival. See item 6131.18P for more photographs of contractors preparing the foundations. This is a set of 16 photographs of a visit to the Army Survey Regiment, Fortuna, Bendigo by the Commander 3rd Military District (CMDR 3MD ) BRIG P. Davies AM, ADC on the 23rd and 24th of October 1989. The photographs are on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .3) - Photo, colour, 1989. L to R: CO LTCOL John Winzar, CMDR 3MD BRIG P. Davies AM, ADC. .4) - Photo, colour, 1989. L to R: SGT Chris Edwards, CMDR 3MD BRIG P. Davies AM, ADC, SGT Graham Johnston, unidentified, SGT Martin Evans. .5) - Photo, colour, 1989. L to R: WO1 Allan Adsett, WO2 Keith Fenton RE UK Exchange, SGT Bob Garritty, WO2 Rob Bogumil, SSGT Peter Imeson, WO1 Ralph Chant. .6) - Photo, colour, 1989. L to R: CO LTCOL John Winzar, WO2 Pat Lumsden, SSGT Di Chalmers. .7) - Photo, colour, 1989. L to R: MAJ Terry Edwards, CMDR 3MD BRIG P. Davies AM, ADC, CPL Graeme Priestley, WO2 Rob Bogumil, SGT Bob Garritty. .8) - Photo, colour, 1989. L to R: CMDR 3MD BRIG P. Davies AM, ADC, CPL Graeme Priestley, SGT Bob Garritty. .9) & .10) - Photo, colour, 1989. L to R: CPL Trevor King, CMDR 3MD BRIG P. Davies AM, ADC, MAJ Terry Edwards. .11) - Photo, colour, 1989. L to R: ADJT CAPT Greg Tolcher, unidentified. .12) - Photo, colour, 1989. CPL Pat Drury, WILD OR-1 Orthorectification Workstation. .13) & .14) - Photo, colour, 1989. CPL Pat Drury, WILD OR-1 Orthorectification Workstation equipment. .15) & .16) - Photo, colour, 1989. Contractors prepare the foundations for Lithographic Squadron’s new Printing Building - Wayzgoose Hall..1P to .16P – no annotations. CMDR 3MD BRIG P. Davies AM, ADC and the date are identified on the film negative sleeve cover sheet.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho sqn

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Six stretched canvases making up the work 'Ring of the Nibellings'. art, artwork, david noonan, oil on canvas, alumni

David NOONAN (1969- ) Born Ballarat, Victoria. Lives and works Melbourne, Victoria and London, United Kingdom. Leaving secondary school as soon as he could, David Noonan enrolled in a Visual Art Course at the Ballarat School of Mines. He described this time as 'an inspiring time, with every art form covered and treated with passion and rigour.' He studied ceramics, photography, painting and knew that he had to be an artist. (https://art150.unimelb.edu.au/articles/david-noonan-making-art-in-a-dark-and-quiet-place, accessed 17 January 2020). Between 1987 and 1989 David Noonan completed a Bachelor of Fine Art at Ballarat University College, Victoria, Australia (Now Federation University Australia). He undertook Post Graduate Studies at the Victorian College of the Arts, Melbourne in 1991 and 1992. Since 2005 he has been based in London with his work featuring in a number of major international exhibitions of contemporary art, including 'Altermodern', the 2009 Tate Triennial at Tate Britain, London. Producing works in a range of media including painting, photography, film, print-making, collage and sculpture David Noonan's work often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. Animals, actors and masked figures are recurring motifs that imbue his works with a magical atmosphere that is suggestive of childhood memories or half-forgotten dreams. ( produced works in a range of media including painting, photography, film, print-making, collage and sculpture. His works often evoke the subconscious realm through their fragmented imagery, allusive qualities and complex layering of historical and cultural references. (https://www.ngv.vic.gov.au/essay/david-noonan-untitled/, accessed 17 January 2020) David Noonan has become known for large-scale monochromatic collages on linen comprised of fabrics which are torn, folded, cut, stitched and combined with silkscreened images. This approach was used to produce his 2018 atmospheric film 'A dark and quiet place'. Noonan is interested in combining art and traditional craft techniques. (https://artgalleryofballarat.com.au/gallery_exhibitions/david-noonan-stagecraft/, accessed 17 January 2020) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A large painting on canvas. art, artwork, david noonan, noonan, alumni, oil on canvas, available

Celluloids are a class of compounds created from nitrocellulose and camphor, with added dyes and other agents. Generally considered the first thermoplastic, it was first created as Parkesine in 1856 and as Xylonite in 1869, before being registered as Celluloid in 1870. Celluloid is easily moulded and shaped, and it was first widely used as an ivory replacement. The main use was in movie and photography film industries, which used only celluloid films prior to acetate films that were introduced in the 1950s. Celluloid is highly flammable, difficult and expensive to produce and no longer widely used, although its most common uses today are in table tennis balls, musical instruments and guitar picks. Celluloid was useful for creating cheaper jewellery, jewellery boxes, hair accessories and many items that would earlier have been manufactured from ivory, horn or other expensive animal products. It was often referred to as "Ivorine" or "French Ivory". It was also used for dressing table sets, dolls, picture frames, charms, hat pins, buttons, buckles, stringed instrument parts, accordions, fountain pens, cutlery handles and kitchen items. The main disadvantage the material had was that it was flammable.. It was soon overtaken by Bakelite.A miniature, oval, Ivorine hand mirror with floral engraving on back. An accoutrement for use in a lady's Evening bag c19thCFloral design engraving on back of mirrormoorabbin, brighton, early settlers, pioneers, cheltenham, craft work, mirors, ivorine, evening bags, celluloids, bakelite, plastics,

Image taken in c.1900 of Albert Road, Beechworth, showing surrounding landscape. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900s, landscape, streetscape, albert road

This image of a man is possible an early version of the modern photographic technique the 'selfie'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome

Celluloids are a class of compounds created from nitrocellulose and camphor, with added dyes and other agents. Generally considered the first thermoplastic, it was first created as Parkesine in 1856 and as Xylonite in 1869, before being registered as Celluloid in 1870. Celluloid is easily moulded and shaped, and it was first widely used as an ivory replacement. The main use was in movie and photography film industries, which used only celluloid films prior to acetate films that were introduced in the 1950s. Celluloid is highly flammable, difficult and expensive to produce and no longer widely used, although its most common uses today are in table tennis balls, musical instruments and guitar picks. Celluloid was useful for creating cheaper jewellery, jewellery boxes, hair accessories and many items that would earlier have been manufactured from ivory, horn or other expensive animal products. It was often referred to as "Ivorine" or "French Ivory". It was also used for dressing table sets, dolls, picture frames, charms, hat pins, buttons, buckles, stringed instrument parts, accordions, fountain pens, cutlery handles and kitchen items. The main disadvantage the material had was that it was flammable. Items made in celluloid are collectible today and increasingly rare in good condition. It was soon overtaken by Bakelite and Catalin.. A miniature, square, Ivorine hand mirror with bird engraved on back. An accoutrement for use in a lady's Evening bag c 19thCbird engraved on back of mirrormoorabbin, cheltenham, brighton, market gardeners, pioneers early settlers, mirrors, ivorine, celluloids, bakelite, plastics,

This image showing a man sitting on a bench seat reveals what life was like in the Edwardian era through the clothing and hairstyle worn by the seated man. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, edwardian era, portrait

This image was taken c.1900 and shows one of the offices upstairs in the Beechworth Town Hall. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, office, town hall, beechworth town hall, 1900s

A hand-painted slide from c.1900 depicting a circular image of 11 goldfish swimming around the words 'Good Night'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into early photographic and film-making technology in use in regional Victoria during the late 1800s and early 1900s.Thin translucent sheet of glass with a circular image printed on the front and hand-painted in shades of orange, red, blue, and green.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, fish, hand-painted, good night, 1900s

This image taken in c.1900 shows a military parade marching along Camp Street in Beechworth heading towards the center of town, watched my onlookers lining the sidewalks. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, military parade, military, australian military, 1900s, early 20th century

Taken in c.1900 this image shows Newtown Bridge in Beechworth. Newtown Bridge is constructed with granite from the surrounding area and is a great example of the masonry work used in the construction of the town. This bridge has been listed by the National Trust as a significant object to the transportation history of Australia. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, newtown bridge, masonry, transport, bridge, granite

This image shows a view of a properties bordering a river in the vicinity of Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the water source pictured may feed into the bigger system that flows through Beechworth Gorge. A man wearing a hat, possibly the photographer, is silhouetted in the foreground of the picture. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, photographer, beechworth gorge, river, stream, water source, 1900s

This image shows a semi-aerial view of commercial and official properties lining Ford Street, Beechworth, in approximately 1900. The tower of Christ Church of St Peter and St Paul can be seen in the middle section of the photograph, on the left-hand side of the street. The Church was constructed in 1858 with the tower added to the structure in 1864. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and commercial and official infrastructure in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ford street, christ church of st peter and st paul, church tower, landmarks, 1900, shopping facilities, public buildings, 1900s, built environment, streetscape

This slide depicts an image of elephants from a travelling circus being marched through Camp Street in Beechworth in the early 1900s. Travelling circuses began operation in Australia in the 1860s as a way of providing entertainment to towns across Australia. Many of these traveling circuses use to have exotic animals such as elephants as part of their performances. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with an oval image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, circus, travelling circus, elephants, circus elephants, exotic animals, 1900s, entertainment

This image shows 5 nurses of Mayday Hills Mental Asylum gathered on the porch and staircase of a building. Beechworth has a long history of nursing, beginning with the establishment 3 medical facilities in the mid-1800s, the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Mayday Hills Hospital (opened in 1867). Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, nurses, nursing, mayday hill hospital

This slide depicts an image of elephants from a travelling circus being marched through Camp Street in Beechworth in the early 1900s. Travelling circuses began operation in Australia in the 1860s as a way of providing entertainment to towns across Australia. Many of these traveling circuses use to have exotic animals such as elephants as part of their performances. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, circus, travelling circus, elephants, circus elephants, exotic animals, 1900s, entertainment

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice