The first four photographs were most likely taken in the 1960 and the fifth in the 1970s at the Army Survey Regiment, Fortuna, Bendigo. As there are no annotations with the photos, the exact dates, locations and names of personnel are unknown. SGT Bob Scaddan appears in the fifth photo taken in the 1970s Photos .1P and .2P. could have been taken in Lithographic Squadron’s retouching room and Photos .3P, .4P and .5P. were probably taken in Cartographic Squadron’s Correcting Section, located in the Attic. Retouching mainly entailed the application of liquid opaque (Plumtree), commonly known as “duff” to cover blemishes such as scratches and spots on film negatives before photographic exposure. Retouching technicians also used specialised techniques such as “needling” to repair faults on the emulsion of map reproduction material. The technician in photo .4P is needling a hydrographic feature on a drainage negative, with a zoom transfer scope projecting a scaled projected aerial photograph as a positional reference. This is a set of five photographs of technicians retouching reproduction material at the Army Survey Regiment, Bendigo. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1960s. unidentified personnel in Lithographic Squadron. .2) - Photo, black & white, c1960s. unidentified personnel in Lithographic Squadron. .3) - Photo, black & white, c1960s. unidentified personnel in Cartographic Squadron Attic. .4) - Photo, black & white, c1960s. unidentified personnel in Cartographic Squadron Attic. .5) - Photo, black & white, c1970s. SGT Bob Scaddan in Cartographic Squadron..1P to .3P, .5P - annotated “Retouching”royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, carto

This is a set of seven photographs of technicians retouching orthophoto reproduction material at the Army Survey Regiment, Bendigo, c1975. Retouching mainly entailed the application of liquid opaque (Plumtree), commonly known as “duff” to cover blemishes such as scratches and spots on film negatives before photographic exposure. Retouching technicians also used specialised techniques such as “needling” to repair faults on the emulsion of map reproduction material. The technicians in this set of photos were probably working on the retouching and registration of orthophotomap colour film separations in preparation for publication by Print Troop. Peter Dew featuring in photos .1P to .5P was a serving member of RA Svy, who died in a tragic accident at home. He was fondly remembered as one of Lithographic Squadron’s colourful personalities. The "Super Animal of the Year" Peter Dew Memorial Award was an award presented to a member of the squadron for a crude act. To view a photo of this award, refer to item 6230 of the Victorian Collections.This is a set of seven photographs of technicians retouching and assembling orthophoto reproduction material at the Army Survey Regiment, Fortuna, Bendigo. c1975. The photographs are on 35mm colour slides and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .3) - Photo, colour, c1975. Retouching reproduction material. L to R: SPR Ralph Chant, PTE Laurie Tedford, SGT Peter Dew. .4) to .5) - Photo, colour, c1975. Retouching reproduction material. SGT Peter Dew. .6) - Photo, colour, c1975. Assembly of orthophoto colour film separations. .7) - Photo, colour, c1975. Assembly of orthophoto colour film separations, CPL Garran Hill..1P to .7P - There are no annotations stored with the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho

Photo of Laverton Airfield Melbourne Victoria showing Military AircraftOriginal Large Photo on Cardboard plus retouched photo on photo paperLaverton Aerodrome Latitude 37 Degrees 50 Seconds South Longitude 144 Degrees 40 minutes East

'Austrian' china fruit comport on stand.Transfer border and yellow roses retouched by hand.Brown and gold enamel decorationdomestic items, crockery

Portland City CouncilRetouched black and white portrait of a bearded man in three-quarter view. He is wearing a suit and bow tie, and his hair has a central part.Front: F. Schofield Esq., 1881 (engraved on brass panel, lower centre) Back: (no inscriptions)

Portland Town CouncilRetouched photograph of a man in a grey suit. He is wearing a side part in his hair. Framed under glass in a gold frame (plater/papermache and wood), in a gold card mount.Front: Portland Town Council (top centre), Councillor James Grenville Murrell, J.P., Mayor 1938-39 and 1943-45 (lower centre) Back: (no inscriptions)councillor james grenville murrell

The subject of this photograph, David Charteris McArthur was the founding manager of the Bank of Australasia in Port Phillip (Melbourne). McArthur was born in 1808 in Gloucester, England, and educated in Scotland. He worked for an insurance firm in Edinburgh where in 1835 he married Caroline nee Wright. McArthur and his family party sailed from the U.K. to arrive in Sydney in October 1835, where he joined the Bank of Australasia when it opened in Sydney in December. McArthur sailed to Melbourne in August 1838 with 3000 pounds in coins, protected by armed guards and two bulldogs, to open the Melbourne branch of the Bank of Australasia. The branch grew quickly, servicing both private and government customers. He opened many branches in the goldfields during the1850’s. In 1862 he was appointed as general inspector of branches. He spent time with the bank in New Zealand. On his return to Melbourne, at age 57, he was put in charge of the entire bank. McArthur lived in the hills of Heidelburg, Melbourne. He was the first chairman of Associated Banks and was advisor to politicians and merchants. He was retired in October 1876 by the London directors and given a free trip to London, an annuity and a seat on the bank’s Advisory Board. McArthur was active in the community, being a member of the Mechanics’ Institute, on the committee that advised Governor Hotham on the Colony’s finances, chairman of the Heidelburg Road Board, one of the original trustees of the Library of Victoria in 1853 and president of trustees of the Public Library, Museums and National Gallery of Victoria in 1880-83. He was also on many other community organisations. He died in his home “Charterisville” in East Ivanhoe in 1887. He and Caroline had no children. The Melbourne branch of Australia and New Zealand Bank has a portrait of McArthur in its boardroom. St John's Church, Heidelberg, commemorates him with a stained-glass window entitled 'King David'. The McArthur Gallery in the National Gallery of Victoria is also named after him. (David's brother, Donald, moved from Sydney to Melbourne in 1836 with the first government survey team.) ABOUT THE BANK OF AUSTRALASIA In 1836 the Bank of Australasia was established in London by Royal Charter. In 1951 the bank merged with the Union Bank of Australia, to form ANZ Bank Limited. In 1970 it merged with the English, Scottish and Australian Bank to become Australia and New Zealand Banking Group Limited. Since that time the ANZ has acquired other banks and introduced Internet banking and mobile banking. BANK OF AUSTRALASIA IN WARRNAMBOOL The Bank of Australasia first opened in Warrnambool in July 1854 in a building on Merri Street. The manager was Mr Samuel Hannaford. The bank then purchased and moved to a stone building on the corner of Timor and Gibson Streets, previously owned by Cramond and Dickson and almost opposite the Examiner’s office. In January 1957 Mr W.H. Palmer became the new manager and was there until November 1869. The bank then built its own building on the corner of Timor and Kepler Streets in 1859. Mr Basil Spence, the teller, was appointed acting manager in 1869 and Mr H.B. Chomley was the next appointed manager, in April 1873 and was still manager in 1886. The municipality of Warrnambool first banked with the Bank of Australasia from 1856 to April 1857. David Charteris McArthur was the founding manager of the Bank of Australasia. This photograph of him represents the beginnings of Warrnambool's commercial history, with the municipality using the Bank of Australasia as its bank from 1856-April 1857.Photograph; portrait of David Charteris McArthur. Heavily retouched black and white print in plain brown varnished frame, behind glass, with plaque on lower edge and inscription lower left corner.Lower left corner "A-H 1-9". Engraved on plaque "DAVID CHARTERS MCARTHUR \ SUPERINTENDENT \ BANK OF AUSTRALASIA \ 1867-1876"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank of australasia, david charteris mcarthur, superintendent bank of australasia, colonial commerce, manager bank of australasia melbourne, colonial bank, warrnambool bank of australasia, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur

Sepia photograph of Graham Street footbridge over the Lagoon in 1870s, showing Gasworks across Lagoon - taken from a badly damaged Nettleton original (#187) in our collection and digitally retouchedsandridge lagoon, gasworks, built environment - industrial, natural environment, engineering - bridges, charles nettleton

One of a collection of photographs donated by Mr J. W. Gliddon and used in his book "Phillip Island in Picture and Story"Photograph of Bergin's Bay, Cape Woolamai. Mutton bird eggers camp tents on beach. One sailing boat aground on beach shore. About nine people on the beach."Difficulty was encountered in copying a newspaper picture because of the screen markings. Mr Guy of the R. M. T. C. Finally retouched this copy for the P.I. Book.cape woolamai, bergin's bay, mutton bird eggers

Portland Town CouncilRetouched (colour) photograph of a man in a suit, posed in ¾ view, upper torso. He has grey hair, cut short, glasses and is wearing a badge on his left lapel. Framed in decorative paper mache/plaster and wood frame, painted gold, in gold mount.Front: Portland/Town Council (Black and red text, upper centre) The Honorable/H.V. MacLeod MLC JP/Mayor 1946-49 (black and red text, lower centre) Back: (no inscriptions)hv macleod

This is believed to be a photograph of Cartographic Squadron, one of the Army Survey Regiment’s squadrons at Fortuna, Bendigo. It was probably taken on Corps Day in July 1985 as its members appear in winter dress. Cartographic technician tasks undertaken by Cartographic Squadron at that time were scribing, compiling, retouching, masking, type setting, type stickup, terrain embossing, correcting and proving quality control. This is a photograph of Cartographic Squadron taken at the Army Survey Regiment, Fortuna, Bendigo. c1985. The black and white photograph was printed on photographic paper and is part of the Army Survey Regiment’s Collection. The photograph was scanned at 600 dpi. .1) - Photo, black & white, 1985, Cartographic Squadron, Army Survey Regiment. Back Row L to R: CPL Dave Cook, SPR John Keely, CPL Perry Burt, CPL Terry ‘TJ’ Wicker, CPL Roger Pearson, CPL Simon ‘Andy’ Capp, CPL Paul Richards, SPR Owen Jones, SPR Bjorn Sakariassen, CPL Graeme Priestley, SPR Roger Graf, SPR Robin Marshall, SGT Paul Hopes. Middle Row L to R: SPR Max Watson, CPL Doug Home, SGT Mick Flynn, SGT Alan Staley, CPL John Reid, SPR Denise (Muldoon) Marshall, CPL Mark Casey, SGT Greg Anderson, SPR Leah (Hoffman) Peppler, SPR Gayle Humphrey, CPL John ‘Stormy’ Tempest, SGT Paul Leskovec CSM, SGT Graeme Dowd, SPR Tracy (Parker) Ash. Front Row L to R: SGT John Zuringer, SSGT Adrian ‘Charlie’ Creedy, SSGT Dennis McCarthy, SSGT Ian ‘Rock’ Thistleton, SSGT Trevor Pearson, WO2 Russ Larsen, WO1 Doug Arman, MAJ Terry Edwards, WO1 Bill Griggs, WO1 Dick Manley, SSGT Tony Harder RE (UK Exchange), SSGT Doug Gay, SGT Tim Allanson, SGT Dennis Learmonth.No personnel are identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, carto, asr

Document, The Melbourne Advertiser Port Phillip No.1 Written for and Publisher by John P. Fawkner, Monday January the 1st, 1838, Melbourne, Vol 1st. This is a facsimile copy, from the copy in the La Trobe library, of the first issue of Melbourne's earliest newspaper. Minor retouching has been done on the top of page one to increase legibility.John P. Fawkner.melbourne, 1st newspaper

Newspaper photo glued to thin card with two other photos (non - tramway on rear) of V214 on the construction of the Royal Park tramline between period 1925-1927. Has been retouched. Date of reproduction unknown. On rear has pencil markings cross outs and number "262" in bottom left hand corner. Record revised and image added 21/9/2013.trams, tramways, mmtb v214, royal park line, construction

The Guiding Light Appeal was first launch in 1968 to raise money for building programs that the Association desperately required. Although the appeal target was reached, in 1974 it became clear that further funds were required to complete the work, and a second Guiding LIght Appeal was launched in May 1974. The Appeal chairman was Sir Henry Bolte and its target of $1million was slightly exceeded. 2 x B/W photographsBRI-P191.1 Personalities: Mr J.O. Wicking President of Association (right) With Sir Henry Bolte (L) & Sir Rohan Delacombe (Centre), Governor of Vic; at opening of Guiding Light Appeal 1974 Ticket no 3724 Client Abaus 120# Wanted Wed 18th Mounted as usual 52% Retouch scratches on photo, delete glass and cigarette from Bolteguiding light appeal, john wicking, sir henry bolte, sir rohan delacombe, association for the blind

From Portland Town Council Art Programme. Sponsored by PTC's Art Program, the Theatre Board of the Australian Council, Portland 150th Anniversary Committee, Portland CEMA and the Myer Foundation.Poster for theatrical production. The central image is a retouched photograph of a group of people (men and women) outside a building. The building is made of wood. The people are standing in front of the building and on its roofless verandah. They are dressed in clothing of c1910's. The image is black and white with some items of clothing hand coloured in with red, orange and yellow. The entire poster is covered with approximately 61 signatures. On lower left is a reproduced newspaper clipping of paper addressing a welcome home ceremony for Gallipoli soldiers. In pale yellow in background is a map of Portland Bay. In orange mount in black and gold frame. Below image are the words: "Portland Bay Swells! Devised by Ken Harper and the Portland Community." Below this are details of performance times and ticket details. Mounted in peach matt. Black wooden frame with glass.Front: (no inscriptions) Back: (no inscriptions)

Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events

This is a collection of seven photographs of Women’s Royal Australian Army Corps (WRAAC) personnel posted to the Army Headquarters Survey Regiment, Fortuna, Bendigo circa 1957 to 1964. After the disbandment of the Australian Women's Army Service (AWAS) in 1947 there was only one or two of civilian women in administrative positions at Fortuna. In February 1957 female positions from the disbanded Southern Command Field Survey Section in Melbourne were transferred to newly established positions at the Army Headquarters Survey Regiment, Bendigo. They were accommodated at the newly acquired ‘Turriff’ mansion in Carpenter Street, Bendigo. Their first Officer Commanding (OC) was CAPT Beryl Perry from 1957 to September 1960. Her replacement as OC was CAPT Carol Castor who served in several positions up to June 1967. The main areas of employment in these early days were in administrative positions, draughting in and retouching in Lithographic Squadron. WO2 MA McLaren was the female to reach the rank of WO2 as a Cartographic Squadron section commander in June 1961. WO1 Marj Knight served at Fortuna from 1959 to 1978 was the first female to reach the rank of WO1. WO1 Knight served in the senior Squadron Sergeant-Major and Technical Warrant Officer positions of Cartographic Squadron. She was also the first female PMC of the Army Survey Regiment SGT’s Mess. The WRAAC uniform seen in this collection was replaced in 1979. As the Australian Army implemented the disbandment of the WRAAC as a separate corps in 1980, WRAAC personnel posted to Royal Australian Survey Corps units were integrated into RA Svy.This is a collection of seven photographs of Women’s Royal Australian Army Corps (WRAAC) personnel posted to the Army Headquarters Survey Regiment, Fortuna Bendigo circa 1957 to 1964. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1957. Back row – unidentified personnel, Front row – centre: CAPT Beryl Perry, unidentified personnel. .2) - Photo, black & white, c1958. Back row – unidentified personnel, Front row L to R: unidentified, SGT MA McLaren, CAPT Beryl Perry, unidentified (x2). .3) - Photo, black & white c1959. Back row – unidentified personnel, Front row L to R: unidentified (x2), SGT MA McLaren, CAPT Carol Castor, unidentified (x3). .4) - Photo, black & white, October 1961. L to R: WO2 MA McLaren, PTE CA Brown, CAPT Carol Castor, PTE HS Pasley, PTE BJ Madex, CPL Marj Knight. .5) - Photo, black & white, October 1961. L to R: PTE BJ Madex, PTE HS Pasley, PTE CA Brown, WO2 MA McLaren, CPL Marj Knight. .6) - Photo, black & white, August 1963. Back row – L to R: PTE Hollingsworth, PTE GM Hill, PTE PE Sykes, PTE Nola Strawbridge, PTE Jan Cruickshank, PTE Margaret Taylor, PTE Prescott, PTE RR Hutton, PTE BJ Madex, PTE BM Fuhrmann, PTE Cockburn. Front row – L to R: PTE NA Falot, LCPL JA Hurst, SGT Marj Knight, CAPT Carol Caster, CPL Jennifer Murray, LCPL A Burrows, unidentified. .7) - Photo, black & white, 1964. Back row – L to R: PTE Dianne Fowler, PTE Leslie Mortimer, PTE Marlene Penglase, PTE Marg Cooper, PTE Irene Rankins, PTE Elaine Veith, PTE Lyn Ireland, PTE Marg Murphy, PTE Nola Downes, PTE Joan Lawler, PTE Henni Schunck. Front row – L to R: PTE Loretta Hall, LCPL Jo McNamara, SGT Marj Knight, CAPT Carol Caster, CPL Nola Strawbridge, PTE Mary McHugh, PTE Kalen Sargent..1P to .3P, .7P - no annotation, .4P to .6P - Personnel (surnames, no rank) annotated on back.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, wraac

The Ballarat Technical Art School was part of the Ballarat School of MinesA soft covered book of 58 pages called the Ballarat School of Mines and Industries Prospectus A. Contents includes teaching staff, school hours, curriculum, fee list, Travelling concessions, school library, classification of subjects. scholarships, list of examiners, full science courses Includes images Staff of the Ballarat School of Mines and Students at work in Turning and Fittingballarat school of mines, ballarat technical art school, design, modelling, figure drawing, fashion plate drawing, black and white illustration, wood carving, lettering, art metal work, retouching, architecture, architectural diploma, draughtsmen's courses, art teachers' courses, outdoor sketching classes, photography, building construction, architectural drawing, ticketwriting, signwriting and decorating, dressmaking, needlework, art teachers' certificate., student activities

This is a set of six staff photographs of the Army Survey Regiment’s Officers, Warrant Officers and Sergeants, and each of its four Squadrons at Fortuna, Bendigo in December 1982. Note - Air Survey Squadron’s photo was probably taken in July 1982 as they appear in winter dress. Air Survey Squadron was responsible for aerotriangulation, photogrammetric feature extraction and the AUTOMAP 1 system. Typical tasks were flight planning the acquisition of aerial photography, pugging, mensuration and block adjustments, photogrammetric extraction of topographic features from aerial photography, digital feature editing, map compilation, operating the scanner/plotter, operating the AUTOMAP 1 system and computer programming by civilians. Cartographic Squadron was responsible for the production of the following military products: Joint Operation Graphics, small-scale RAAF Air Charts, large-scale topographic line maps and orthophotomaps. Cartographic technician tasks were scribing, compiling, retouching, masking, type setting, type stickup, terrain embossing, correcting and proving quality control. Headquarters Squadron was responsible for the planning and coordination of map production and contracts. It also performed administrative and support functions such as personnel administration, pay, finance, transportation, records, map Library, kitchens, messes and facility maintenance. It was staffed by Army personnel from RASvy, RACT, AACC, RAAOC and RAEME corps. Other supporting staff at this time included the RAAF Liaison Officer, RAN Liaison Officer and several civilians employed in administration, the Q-Store and grounds maintenance. A component of the Army Svy Regt’s cartographic map production was carried out by the Detachment, a sub-unit located at Bonegilla next to the School of Military Survey. Lithographic Squadron was responsible for the reproduction of map materials and printing of military map products. The main tasks undertaken by photographic technicians were photographic enlargements, reductions and duplication of map reproduction material and processing of aerial photography. Printing technician tasks included platemaking, offset printing, map stock despatching and proofing.This is a set of six staff photographs of the Army Survey Regiment’s Officers, Warrant Officers and Sergeants, and its four Squadrons, at Fortuna, Bendigo, 1982. The black and white photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photograph was scanned at 300 dpi. No personnel are identified. No personnel are identified. .1P – Annotated on front “OFFICERS MESS DEC ’82” .2P – Annotated on back “SGTS MESS DEC ’82” .4P– Annotated on front “CARTO SQN DEC ’82” .5P– Annotated on front “HQ SQN DEC ’82”royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, air survey, carto, litho

This is a set of 14 photographs of a visit to the Army Survey Regiment, Fortuna, Bendigo on the 5th of June 1979 by the Chief of the General Staff (CGS) Lieutenant General Sir Donald Dunstan AC, KBE, CB. He was accompanied by his wife. They were escorted through the production areas of the Army Survey Regiment by the CO LTCOL Bob Skitch. Lieutenant General Sir Donald Dunstan AC, KBE, CB was an esteemed Australian Army officer, who was CGS from 1977 to 1982. Upon retirement from the Army in 1982, he was appointed to the position of Governor of South Australia from 1982 to 1991. LTCOL Bob Skitch was the CO of the Army Svy Rgt from 1976 to 1980. Also featuring in these photos is MAJ Peter Eddy, who was the OC of Air Survey Squadron. He was later promoted to LTCOL and was CO of the Army Svy Rgt from 1981 to 1982. See item 6035.9P for photos of the CGS’s presentation of the Defence Force Service Medal to four recipients.This is a set of 14 photographs of a visit by the Chief of the General Staff to the Army Survey Regiment Fortuna, Bendigo on the 5th of June 1979. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) - Photo, black and white, 1979. Tour of Air Survey Squadron. L to R: unidentified, LTGEN General Sir Donald Dunstan AC, KBE, CB; OC MAJ Peter Eddy, unidentified. .2) - Photo, black and white, 1979. Tour of Air Survey Squadron. LTGEN General Sir Donald Dunstan AC, KBE, CB; views 3D stereoscopic aerial photography on a Zeiss (Jena) Stecometer. OC MAJ Peter Eddy is on his right. .3) - Photo, black and white, 1979. Tour of Air Survey Squadron. L to R: unidentified, CO LTCOL Bob Skitch, OC MAJ Peter Eddy, LTGEN General Sir Donald Dunstan AC, KBE CB viewing an aerial photograph. WO1 Brian Mead and others are operating a Wild PUG4 point transfer device. .4) - Photo, black and white, 1979. Enlargement of photo .3). Tour of Air Survey Squadron. L to R: unidentified, CO LTCOL Bob Skitch, OC MAJ Peter Eddy, LTGEN General Sir Donald Dunstan AC, KBE CB viewing an aerial photograph. .5) - Photo, black and white, 1979. Tour of Air Survey Squadron. LTGEN General Sir Donald Dunstan AC, KBE, CB; and unidentified technician view 3D stereoscopic aerial photography on a Wild B8 stereo plotter. .6) - Photo, black and white, 1979. Tour of Air Survey Squadron. L to R: OC MAJ Peter Eddy LTGEN General Sir Donald Dunstan AC, KBE CB; CO LTCOL Bob Skitch, view the output of a verification plot on an AUTOMAP 1 Gerber 1442 drum plotter. .7) - Photo, black and white, 1979. Tour of Air Survey Squadron. L to R: CO LTCOL Bob Skitch, unidentified aide de camp officer, LTGEN General Sir Donald Dunstan AC, KBE CB; OC MAJ Peter Eddy discuss aero triangulation planning documents. CAPT Don Maskew in background. .8) - Photo, black and white, 1979. Tour of Cartographic Squadron. L to R: CPL Dennis Learmonth, acting OC CAPT Bob Roche, CAPT Eddy Schulze, LTGEN General Sir Donald Dunstan AC, KBE CB; SSGT John ‘JB’ Barrie discuss cartographic map compilation procedures .9) - Photo, black and white, 1979. Tour of Cartographic Squadron. L to R: Tech WO WO1 Roger Rix, acting OC CAPT Bob Roche, CAPT Eddy Schulze, unidentified visitor, Mrs Dunstan with examples of map products. .10) - Photo, black and white, 1979. Tour of Cartographic Squadron. L to R: CPL Terry Danger, CO LTCOL Bob Skitch, LTGEN General Sir Donald Dunstan AC, KBE CB; discuss terrain embossing (hill shading) procedures. .11) - Photo, black and white, 1979. Tour of Cartographic Squadron. L to R: CO LTCOL Bob Skitch, LTGEN General Sir Donald Dunstan AC, KBE CB; acting OC CAPT Bob Roche, SSGT Dick Manley, CAPT Don Maskew and CAPT Steve Cooper in background. SPR Cheryl Lofthouse is retouching blemishes on a map separation film negative. .12) - Photo, black and white, 1979. Tour of Lithographic Squadron. L to R: CAPT Stan Vote, unidentified aide de camp officer, CO LTCOL Bob Skitch, LTGEN General Sir Donald Dunstan AC, KBE CB; MAJ Sam Schwartz EXCH-US, LT John Harrison discuss bulk map printing processes with an Ultra-MAN-III Printing Press. .13) - Photo, black and white, 1979. Officers Mess L to R: LTGEN General Sir Donald Dunstan AC, KBE CB; with CO LTCOL Bob Skitch. .14) - Photo, black and white, 1979. Officers Mess L to R: MAJ Peter Eddy, LTGEN General Sir Donald Dunstan AC, KBE CB..1P to .14P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, burkes, hotel, pub, doveton st, 1872, crop?