This photograph, showing indigenous Indochinese infantrymen is number 16 in a series that was taken by one Dr Hocquard who was a medical officer stationed in French Indochina in the late 19th century. It was first published in Paris in 1886 as part of a series of works in “Le Tonkin, Vues Photographiques Prises Par Mr le Dr Hocquard, Médecin-Major” which was edited by Henri Cremnitz.
It is a Woodburytype (French: Photoglyptie) print which is a photo-mechanical process developed by Walter B. Woodbury in 1864. The process produces continuous tone images in slight relief. A chromated gelatin film is exposed under a photographic negative, which hardens in proportion to the amount of light. This is then developed in hot water to soften and remove all the unexposed gelatin, then dried. The remaining relief is pressed into a sheet of lead using a press that exerts 5000 psi resulting in an intaglio plate which is used as a mold and is filled with pigmented gelatin. The gelatin layer is then pressed onto a paper support.
The series of images that comprise “Le Tonkin, Vues Photographiques Prises Par Mr le Dr Hocquard, Médecin-Major” is held by the French national military museum, the Musée de l’Armée in Paris.
On the 20th of March 1917, Lt. Frank H McNamara became the first Australian aviator to be awarded the Victoria Cross after landing his aircraft behind enemy lines to rescue a downed comrade, whilst serving with No. 1 Squadron Australian Flying Corps in Palestine. The citation for the Victoria Cross reads,
“most conspicuous bravery and devotion to duty during an aerial bomb attack upon a hostile construction train, when one of our pilots was forced to land behind the enemy’s lines. Lieutenant McNamara, observing the pilots predicament and the fact that hostile cavalry were approaching, descended to his rescue. He did this under heavy rifle fire and in spite of the fact that he himself had been severely wounded in the thigh. He landed about 200 yards from the damaged machine, the pilot of which climbed on to Lieutenant McNamara’s machine, and an attempt was made to rise. Owing, however, to his disabled leg, Lieutenant McNamara was unable to keep his machine straight, and it turned over. The two officers, having extricated themselves, immediately set fire to the machine and made their way across to the damaged machine, which they succeeded in starting. Finally, Lieutenant McNamara, although weak from loss of blood. flew this machine back to the aerodrome, a distance of seventy miles, and thus completed his comrade’s rescue.”
Frank Hubert McNamara was born at Rushworth, Victoria, on 4 April 1894. After completing secondary schooling in Shepparton, he studied teaching at the Teachers Training College and the University of Melbourne and went on to teach at a number of Victorian Schools where he joined the senior cadet units. In 1912 he transferred to the Brighton Rifles and was commissioned as a second lieutenant in July 1913. After the outbreak of the First World War he served at Queenscliff and then Point Nepean before attending the Officers Training School at Broadmeadows, then between February and May 1915, instructed at the AIF Training Depot at Broadmeadows.
In August 1915 McNamara was selected to attend the Point Cook Flying School, graduating as a pilot in October that year. In January 1916 he was posted as an adjutant to No. 1 Squadron, Australian Flying Corps and sailed for Egypt. In May 1916 he was seconded to No. 42 Squadron, Royal Flying Corps to attend the Central Flying School at Upavon, England. Following this he was attached as an instructor to No. 22 Squadron of the Royal Flying Corps in Egypt before returning to duty with No. 1 Squadron.
On 20 March 1917 McNamara, flying on a bombing mission in Gaza, saw a fellow squadron member, Captain D. W. Rutherford, shot down. Although having just suffered a serious leg wound, McNamara landed near the stricken Rutherford who climbed aboard, but his wound prevented McNamara from taking off and the aircraft crashed. The two men returned to Rutherford’s plane, which they succeeded in starting and, with McNamara at the controls, they took off just as enemy cavalry arrived. For this action McNamara was awarded the Victoria Cross.
Portrait, maternity jacket and items belonging to Douglas Wallace Rutherford, No. 1 Sqn AFC, who was rescued by Frank McNamara in the action for which he was awarded the VC. These items all comprise part of the collection held at the RAAF Museum at Point Cook in Victoria. Note that despite being an AFC pilot, Wallace’s jacket features the pilot wings of the Royal Flying Corps (RFC), whilst the portrait shows him with the Observers brevet for which he originally qualified. Douglas Wallace Rutherford was born in Rockhampton, Queensland on 29 September 1890. He joined 5 Light Horse Regiment on 7 December 1914 and departed Australia later that month with the second contingent destined for Gallipoli. He went into action in May 1915 and was wounded on 28 June. After receiving medical attention in Alexandria, Egypt and London, UK, he returned to the 5th Light Horse in April 1916 and soon transferred to the Australian Flying Corps, qualifying as an Observer in August 1916. After promotion to Captain in November 1916, Rutherford commenced pilot training with the 5th School of Military Aeronautics at Aboukir, Egypt and by 1917 had returned to No. 1 Squadron AFC as a qualified pilot. Rutherford undertook operations against Turkish forces with No. 1 Squadron until being forced down in the Amman area and was captured by the Turks. He was imprisoned in Constantinople for six months before being returned to Australia in December 1918.
In April 1917McNamara was promoted to captain and appointed Flight Commander, but his wound prevented further flying and he was invalided to Australia in August. His appointment with the AFC ended in January 1918 but he was reappointed in September and became an aviation instructor. In 1921 he transferred to the newly established Royal Australian Air Force as a flight lieutenant and held a number of senior RAAF appointments between the wars, including two years on exchange to the RAF in the mid-1920s.
At the outbreak of the World War Two, McNamara was promoted to air commodore and then an air vice marshal in 1942. From 1942 until 1945 he served as Air Officer Commanding British Forces in Aden before returning to London as the RAAF’s representative at Britain’s Ministry of Defence. In July 1946 he became Director of Education at the headquarters of the British Occupation Administration in Germany. He remained in the UK after retiring and died in London on 2nd November 1961.
The invention of photography in 1839 changed the world. It provided a more accessible means for society to record and over the course of time, define itself. For the collector, researcher and historian, photographic records are absolutely invaluable in providing important pieces of information about everything that has contributed to our past and our current identity. The camera has recorded everything, from the minutiae of detail on an item of clothing to a providing a document of events that shaped opinions and changed the course of history.
Like many soldiers, I also carried a camera and documented my life in the army and when I decided that it was time to head down ‘civvie’ street, I opted to take my photography to the next level opting to become a professional photographer. These days, in addition to taking photographs I also work as a Photography/Media lecturer at the Central Institute of Technology in Perth. My classes are varied and range from teaching digital capture, editorial photography to traditional darkroom and long obsolete 19th century ‘alternative’ printing techniques. I have also been responsible for instructing the students on storing archiving and exhibiting their photographic collections. These are aspects that most people pay little attention to, with potentially disastrous consequences for the future, particularly in this digital era of built in obsolescence where technology becomes obsolete overnight and we are no longer limited by the shooting restrictions of a roll film.
So, in future blog posts, I’ll present a series of articles aimed at us collectors and military enthusiasts that will look at how to preserve, store and share the photos that are important to us, from a collectors perspective and also to ensure that our kids or grandchildren can enjoy the photographs that we take today. We will look at the various technologies from the birth of photography in 1839 through to the present day. For each of these we will cover considerations for preventive conservation, storage, handling and presentation. There’s a lot of ground to cover and I’ll break up the sessions with some battlefield reports (I’m heading back to Vietnam in a few weeks) or titbits from my collection. But, before we start, here is something that should arouse your interest in the topic.
Vignacourt is a small French town a little to the north of Amiens and during the First World War played an important role as a base and rest area for allied troops from the nearby fighting as it was just outside artillery range, but close enough to act as a staging area for the British sector. In late 1916 hundreds of Australians moved from the winter trenches of the Somme to the relative comfort of the town to rest and refit. Whilst many of the young Frenchmen had left to fight, the town it was still functioning and amongst those who remained were Louis and Antoinette Thuillier who turned their home into a photo studio and advertised for soldiers to have their photographs taken.
These were taken using glass plate negatives and printed outdoors, using the sun to expose the image onto postcards which the diggers could keep as a souvenir or send home to their families as evidence that they were still alive and well. Thousands of soldiers passed through their studio and whilst many of the resulting images have been preserved in family albums and institutions, it was believed that the original glass negatives had been lost. Then, in 2011 over 3000 of the glass negatives were discovered in a barn, amongst them around 800 images of the Australian troops. Kerry Stokes, businessman, philanthropist and friend of the Australian War Memorial generously donated these to the Australian War Memorial. Of these, 74 images were selected and reprinted using the traditional darkroom techniques and featured as part of the Remember me: the lost diggers of Vignacourt exhibition which ran at the AWM until July 2013.
The exhibition combines the images along with it’s own records and collection to tell the story of the subjects in their own voices. Whilst the exhibition only features a small number of the photos, the full collection is available online at the AWM site (http://www.awm.gov.au/exhibitions/remember-me/collection/). To coincide with the exhibition, Ross Coulthart has produced a book, The Lost Diggers, which tells the story of the discovery of the negatives and the stories of many of the people in the photos. The AWM has also released a video showing the restoration and printing of the images, which is worth watching and provides an insight into the preservation of this type of photograph.
This is a 25 minute documentary made by the Australian Commonwealth Film Unit in 1966 shortly after the Australian Task Force established itself in Phuoc Thuy province and before the anti-war movement took hold. The film shows combined operations with US troops in War Zone D, hearts and minds and general life in-country. Its purpose was to give the public back in Australia an understanding of what the war was like and how the Australian diggers went about their day to day activities. Government propaganda of the time, but worth watching nonetheless.
Directed by John Abbott and made available for public viewing by the National Film And Sound Archive.