The negatives were heavy, and he carefully selected those he would take back with him, smashing the rest on the ice. Aware of the outbreak of war, the shipwrecked crew often speculated on the outcome of the conflict, unaware that it was far from over. 4 Ernest Shackleton, South: The Story of Shackleton’s Last Expedition 1914–1917, Konecky & Konecky, New York, 1998, p. 231. 7 Charles Bean (diary entry, vol. Frank Hurley, ‘My diary, official war photographer, Commonwealth Military Forces, from 21 August 1917 to 31 August 1918’, in Papers of Frank Hurley, Manuscripts Collection, MS 833, National Library of Australia, Canberra. The exhibition catalogue listed the photographs for sale, saying: ‘They make Ideal Presents to ex-soldiers’.18 Descriptive Catalogue of Official War Photographs, Australian War Museum, Melbourne, 1921, p. 1. Hurley’s photograph conveys the scale of the landscape and the terrible human toll. 3 Thomas Orde Lee (diary entry, 19 July 1916), quoted in Alisdair McGregor. Our Authorities here will not permit me to pose any pictures or indulge in any original means to secure them. Frank Hurley, An advanced aid post, 1917 E01202A, 10 am to 5 pm daily (except Christmas Day), Get your ticket to visit: awm.gov.au/visit. 1 Frank Hurley, ‘My diary, official war photographer, Commonwealth Military Forces, from 21 August 1917 to 31 August 1918’, in Papers of Frank Hurley, Manuscripts Collection, MS 833, National Library of Australia, Canberra. Our collection contains a wealth of material to help you research and find your connection with the wartime experiences of the brave men and women who served in Australia’s military forces. He also made a number of documentary and fiction feature films. Please read our special conditions of entry before visiting us. (Multiple negative composite). The exaggerated machinations of hell are here typified. It is disheartening, after striving to secure the impossible and running all hazards to meet with little encouragement. From photographing a failed Shackleton Antarctic expedition to the grim battlefields of World War I it didn’t take long for Australian Captain James Francis “Frank” Hurley to earn the nickname “the mad photographer”. The initial jubilation was no doubt mediated with sadness and a sense of loss, and with the harsh reality of wounded and battle-wearied men reintegrating into civilian life. Frank Hurley passed away in 1962 in Australia. Oh the frightfulness of it all. You are free to copy, distribute, remix and build upon this content as long as you credit the author and the State Library of NSW as the source. 12 For a detailed discussion of the Grafton Galleries exhibition and Hurley’s use of composite negatives, see Martyn Jolly, ‘Australian First World War photography: Frank Hurley and Charles Bean’, Desirable Things, the private collection of Alfred Felton, The Multiple Worlds of Cindy Sherman’s History Portraits, Patricia Piccinini’s Desert rider, mountain, Victorian Foundation for Living Australian Artists, NGV School and Community Support Programs, International Audience Engagement Network (IAE). A product of the mechanical age, tanks, or ‘land ships’ as they were also known, were first seen in the 1914–18 war, although their deadly effect was clearly defeated by the mud of Flanders. The ground had been recently heavily shelled by the Boche and the dead and wounded lay about everywhere … Last night’s shower too, made it a quagmire, and through this the wounded had to drag themselves, and those mortally wounded pass out their young lives.9 ibid. (Multiple negative composite). Shaune Lakin advised the author that the Australian War Museum outsourced the production of these pictures to commercial printers. World War I: France, Belgium, Palestine, 1917-1918, Paget plates. Frank Hurley was appointed Australia’s second official First World War photographer. At the age of thirteen, he ran away from Glebe Public School after a fight with his teacher. A popular success with the general public, the Exhibition of Enlargements Official War Photographs opened in Melbourne in 1921 and offered audiences the opportunity to purchase his photographs and those of other official war photographers. After a series of increasingly acrimonious exchanges with Bean over his use of composites and, more broadly, over the issue of the historical reliability of his work, Hurley left the Western Front in November 1917 for the Middle East, where he photographed the activities of the Australian Mounted Division. Everything has been swept away, – only stumps of trees stick up here or there and the whole field has the appearance of having been recently ploughed’.8 Hurley (diary entry, 23 August 1917). Ypres, Passchendaele and the Menin Road were places that had entered the national consciousness, and photographs from this exhibition, such as these four by Frank Hurley, were among the earliest images of the First World War to be acquired by local audiences. He was in constant conflict with authority and never stopped working. In the catalogue for the exhibition that was shown in Sydney in 1921, the caption for this photo was 'Death’s Highway. This image is a composite scene created from multiple negatives. This figure was supplied by Shaune Lakin in correspondence with the author. The impact of this news was described by Shackleton who wrote that, upon being rescued, they felt ‘like men arisen from the dead to a world gone mad’.4 Ernest Shackleton, South: The Story of Shackleton’s Last Expedition 1914–1917, Konecky & Konecky, New York, 1998, p. 231. Here and there were fragments of toys: what a source of happiness they once were. For my part, Ypres as it now is, has a curious fascination and aesthetically is far more interesting than the Ypres that was. Places of Pride, the National Register of War Memorials, is a new initiative designed to record the locations and photographs of every publicly accessible memorial across Australia. To drive the Boche from Ypres, it was necessary to practically raze the town; and now that we hold it we are shelled in return, but shelling now makes little difference, for the fine buildings and churches are scarce left stone on stone. Way down in one of these mine craters was an awful sight. Until my dying day I shall never forget this haunting glimpse down into the mine crater on Hill 60, and this is but one tragedy of similar thousands and we who are civilized have still to continue this hellish murder against the wreckers of humanity and Christianity. We provide advice and support to all public libraries and local councils in NSW. One dares not venture off the duckboard or he will surely become bogged, or sink in the quicksand-like slime of rain-filled shell craters. Frank Hurley on South Georgia Island, 1914. 3). At the time of their rescue, all were shocked to learn that, after two years, the war was not over but, in fact, had escalated. Use this login for Shop items, and image, film, sound reproductions, throughout Australia. There is no evidence to suggest that the works included were printed by the photographers who took the pictures; on the contrary, it would seem more likely that they were printed by AWRS darkroom assistants or by one of the many commercial photographic studios operating in Melbourne at that time.14 Shaune Lakin advised the author that the Australian War Museum outsourced the production of these pictures to commercial printers. Frank Hurley, Château Wood, 1917 E01220. See more ideas about Hurley, Australian photographers, World war one. What was it worth before the war? The sooner this hellish barbarism is ended God be praised for few can see what real good can be gained. From the early 1900s until his death in 1962, Hurley chronicled many of the major events of the twentieth century, and Australia’s achievements both overseas and at home. At sunrise we were in Ypres. In contrast, Bean’s view was that photographs needed to be an unmanipulated documentary record of the events in which Australian forces were engaged. — just a pound or two; and after the war? Hill 60 long delayed our infantry advance, owing to its commanding position and the almost impregnable concrete emplacements and shelters constructed by the Boche. During the 1918 London exhibition Australian War Pictures and Photographs these composite images were labelled “fake” by Charles Bean, an Australian official war historian. Around this small mound (Hill 60) on which we stood, hundreds, nay thousands of lives have been lost. A friendship with the foreman, ‘Big Bill’, sparked his interest in photography. Hurley was – perhaps unknowingly – echoing Bean’s impetus to establish a national collection and, in turn, a memorial to Australians at war when he wrote: My enthusiasm and keenness, however, to record the hideous things men have to endure urges me on.
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