Photographic Examples Research Articles

Presence as Absence: The Homely and the Unhomely in Jewish Photography under Nazism

This article traces the change in practice and the transition of meaning in the photographs taken in Jewish homes in Germany under the Nazi regime. It draws on the ontological duality of absence and presence embedded in the medium of photography to analyze examples of such photographs selected from numerous archival and private collections, discerning a move away from the practice of interior photography as a tool of social affirmation in the late Weimar Republic toward its attestation of absence and loss shortly before emigration from Germany. Employing the Freudian term uncanny in its original spatial connotation as “unhomely,” the analysis contextualizes the latent presence of the inhabitants in images of vacant interiors through a discussion of the historical change in the domestic life of Jews in the face of the increasing Nazification of the public space. Focusing on the commemorative and mnemonic function of the photos, the article concludes by addressing their constitutive role in personal narratives as a private lieu de mémoire and as the generator of future postmemories.

Repeat Photography, Rephotography and the Redesign of the Riverscape

This article focuses on the ways in which the environment is pictured in an industrial archive in Sweden, and how the use of photography is implicated in the industrialization of rivers. The fluid nature of landscapes, the role of landscape and colonialism connected to photography in Sweden is considered through a selection of archival photographs from log driving industry. The article centers around the case example of photographs from the Ljusnan log-driving archive. Rephotographic tendencies surface, and this article argues that repeat photography is used in the documentation of and redesign of the landscape. The terms repeat photography and rephotography are discussed and clarified. This research acknowledges rephotography for industrial purposes in contrast to environmental goals, suggesting that industrial photographic archives can provide a starting point for new narratives of places of environmental change and extractive industry.

The Night Albums: Visibility and the Ephemeral Photograph

The Night Albums: Visibility and the Ephemeral Photograph

Clinical photography processes (ClinPhoto) study for photo diversity

Although clinical photography serves an important role in the education of clinicians, there is still a disparity of darker skin tones in the photographs used for medical education. This disparity results in a skill deficit for clinicians because the differences in skin pigmentation change the appearance of visible diseases so that it is essential for students and trainees to have examples of clinical photographs on varying skin tones. To effectively address the problem, we need to understand the complex sociotechnical processes involved in clinical photography, which is more than simply the act of taking a photograph. Therefore, we conducted semi-structured interviews on clinical photography with 10 clinicians, 1 medical photographer, and 1 clinical administrator at a tertiary academic medical centre. The interviews revealed 5 deductive themes based on the questions and 19 inductive codes within those themes on how clinical photography is conducted. Analysis of the themes through a lens of critical theory showed how simple awareness of the disparity has not led to interventions for the poor representation of varying skin tones in photographs for medical education and also suggests initial next steps.

Family-acquired photographs for the evaluation of pediatric head shape via telemedicine: an analysis of photograph quality.

Telemedicine can be an effective tool for the evaluation of the pediatric patient with a cranial deformity, but it increases the reliance of neurosurgical providers on data provided by patients and families. Family-acquired photographs, in particular, can be used to augment the evaluation of pediatric head shape abnormalities via telemedicine, but photographs of sufficient quality are necessary. Here, the authors systematically reviewed the quality and utility of family-acquired photographs for patients referred to their pediatric neurosurgery clinic for telemedicine-based head shape evaluations. All telemedicine encounters that were completed for head shape abnormalities at the authors' institution between May 2020 and December 2021 were retrospectively reviewed. Instructions were sent to families prior to each visit with examples of ideal photographs. Three orthogonal views of the patient's head-frontal, lateral, and vertex-were requested. Data were collected regarding demographics, diagnosis, follow-up, and photograph quality. Quality variables included orthogonality of each requested view, appropriate distance, appropriate lighting, presence of distracting elements, and whether hair obscured the head shape. Overall, 565 patients had 892 visits during the study period. A total of 1846 photograph requests were made, and 3335 photographs were received for 829 visits. Of 2676 requested orthogonal views, 1875 (70%) were received. Of these, 1826 (97%) had adequate lighting, 1801 (96%) had appropriate distance, and 1826 (97%) had no distracting features. Hair did not obscure the head shape on the vertex view in 557 visits with orthogonal vertex views (82%). In-person follow-up was requested for further medical evaluation in 40 visits (5%). The family-acquired photographs in this series demonstrated high rates of adequate lighting and distance, without distracting features. Lack of orthogonality and obscuration of the head shape by hair, however, were more common issues. Family education prior to the visit may improve the quality of family-acquired photographs but requires an investment of time by medical staff. Efforts to further improve photographic quality will facilitate efforts to perform craniometric evaluations through telemedicine visits.

Bat selfies: photographic surveys of flying bats

The recent pandemic and other environmental concerns have resulted in restrictions on research and surveys involving capture and handling bats. While acoustic surveys have been widely used as an alternative survey method, in this study, we show how photographic surveys can offer an important contribution to study and survey bats. We outline approaches, using high speed flash and automated trip beams to obtain photos of flying bats of sufficient quality for reliable identification of species. We show, through a series of examples of setups and photographs, that photography is effective for surveying bats at a variety of sites, where bats roost, drink, and forage. We note, however, that photographic surveys cannot replace capture in all situations. In addition, although photographing bats is less invasive than capturing them, it can involve disturbance, so we stress the importance of minimizing the impact of such operations on bats.

Eugenics and photography in Britain, the USA and Australia 1870–1940

This essay traces the main ways in which photography was taken up and used by supporters of the eugenics movement, from the time that Darwin's cousin, the British polymath Francis Galton, first used it to demonstrate the role played by heredity in human intelligence, to the early 1940s, when the eugenics movement lost much of its appeal. It is argued that Galton's composite photographs of the socially “fit” and “unfit” members of British society only broadly determined the pattern for how American and Australian eugenicists deployed photography, and that each country's differing social tensions caused them to evolve their own diverse set of photographic practices aimed at promulgating the eugenic cause. Using photographic examples drawn from Britain, the USA and Australia, the essay identifies the leading persons and eugenics organisations that deployed photography, the different kinds of photographic genres they used and the different ideological and statist ends to which their images were put. It concludes that compared to Britain where class differences were highlighted, the USA and Australia's strong respective histories of slavery and colonisation led to a more robust emphasis on race and in particular the preserving of racial purity and expansion of the white population.

Practice Alert: New ICD-10 Codes for MASD.

Practice Alert: New ICD-10 Codes for MASD.

Exploring the art of medical photography - an otolaryngologist's perspective.

Modern day otolaryngology has expanded beyond the ear, nose and throat to include head and neck surgery and aesthetic facial procedures. Photographic documentation is important within this expanded horizon. The spectrum of clinical photography includes photomicrographs, endoscopic photographs, peri-operative photography and medical social photography. This article aimed to review the standard guidelines essential to obtain, store and disseminate photographs and looked at setting up a small clinic with minimal gadgets to suit clinical photography requirements. Elaboration of basic photography techniques in otolaryngology was reviewed, with examples of photographs taken in a clinic by a clinician. Advances and innovation in clinical photography, in the form of smartphone photography, artificial intelligence, device editing and newer hardware and software in otorhinolaryngology was reviewed. Having a professional photographer to aid a clinician is a luxury. Simple knowledge and regular practice of basic photography guidelines by a clinician is imperative.

The origins of touchscreen competence: Examining infants’ exploration of touchscreens

Infants’ exposure to images presented on screens is increasing with the accelerating use of technology in society and at home. Touchscreen technology provides numerous interactive screen opportunities geared toward infants and toddlers. Touchscreens are unique in that they possess the 2D qualities of a picture, but a set of manipulation possibilities similar to, but distinct from, a 3D object. Research comparing infants’ manual exploration of photographs, objects, and screen images has demonstrated that although 7–10-month-old infants direct different actions towards 3D objects, their exploration of screen images does not differ significantly from their exploration of 2D photographs (Ziemer & Snyder, 2016). The current investigation compares the ways in which 7–10-month-old infants and 15–18-month-old infants manually explore screen images, photographs, and objects. Infants in the older age group were shown examples of objects, photographs, and screen images presented within a well in a table with a Plexiglas® cover to create identical tactile feedback. Coders noted the presence or absence of appropriate actions displayed toward the various surfaces. Results were compared to data collected earlier (Ziemer & Snyder, 2016) to demonstrate the evolution of touchscreen competence across the first years of infant development. By 15–18 months, infants demonstrate an emerging repertoire of touchscreen-appropriate behaviors directed towards touchscreens that is not demonstrated by 7–10-month-old infants. Differences in haptic exploration suggest the beginnings of a touchscreen competence that enables infants to understand and interact with touchscreens in a new way.

Shedding light on 19th century spectra by analyzing Lippmann photography

From uncovering the structure of the atom to the nature of the universe, spectral measurements have helped some of science's greatest discoveries. While pointwise spectral measurements date back to Newton, it is commonly thought that hyperspectral images originated in the 1970s. However, the first hyperspectral images are over a century old and are locked in the safes of a handful of museums. These hidden treasures are examples of the first color photographs and earned their inventor, Gabriel Lippmann, the 1908 Nobel Prize in Physics. Since the original work of Lippmann, the process has been predominately understood from the monochromatic perspective, with analogies drawn to Bragg gratings, and the polychromatic case treated as a simple extension. As a consequence, there are misconceptions about the invertibility of the Lippmann process. We show that the multispectral image reflected from a Lippmann plate contains distortions that are not explained by current models. We describe these distortions by directly modeling the process for general spectra and devise an algorithm to recover the original spectra. This results in a complete analysis of the Lippmann process. Finally, we demonstrate the accuracy of our recovery algorithm on self-made Lippmann plates, for which the acquisition setup is fully understood. However, we show that, in the case of historical plates, there are too many unknowns to reliably recover 19th century spectra of natural scenes.

Remote Musculoskeletal Assessment Framework: A Guide for Primary Care.

IntroductionRemote consulting has exploded into primary care following the initial COVID-19 surge as a measure to reduce potential cross-infection (staff-patient or patient-patient). Musculoskeletal (MSK) conditions comprise up to 21% of the annual primary care caseload in England. Established techniques for MSK examination, however, rely on face-to-face attendance. Evidence-based guidance for remote MSK assessment is required to ensure the quality of care is maintained with the move from face-to-face to virtual consultations.MethodA literature review of published evidence and current guidelines was conducted. The most appropriate remote consultation techniques and MSK examinations were identified and where there was no evidence, modified examination tests were developed from established face-to-face examination techniques. A concise, accessible framework for remote MSK assessment in primary care was then created and tested on a non-medically trained volunteer.ResultsOver 2232 papers and articles were identified by search headings, reducing to 28 sources that had relevant content. At the time of searching, there was no published evidence relating to MSK remote consultation in a primary care setting. However, evidence was found in the physiotherapy and rehabilitation literature for the efficacy and practicality of MSK teleconsultation.MSK remote examination frameworkFrom this literature and with the addition of modified established examinations, an MSK assessment framework was constructed. This framework provides pre-consultation guidance and step-by-step remote examination instructions. Patient and clinician resources (including a patient information leaflet and photographic examples of examinations) were created as supplementary material.ConclusionDue to the frameshift away from face-to-face consultation, primary care clinicians have found themselves lacking an evidence base or practical guidance to support remote MSK assessment. This paper is a systematic literature review of MSK telemedicine from which practical advice and evidence-based MSK tests have been developed. Where there is no evidence, modified traditional tests are suggested to allow a complete framework for remote MSK examination - using a system approach of ‘look, point, move’ followed by modified special tests, for use in a primary care setting as a ‘ready-to-use’ practical guide to remote MSK assessment, presented in a downloadable format.What did this add?With 21% of primary care consultations relating to MSK conditions and limited means of performing face-to-face MSK examination due to COVID-19, there needs to be a recognised framework for assessing the MSK system remotely. To the best of our knowledge, this evidence does not exist for primary care remote MSK examination. This paper demonstrates evidence-based practical advice (from non-primary care settings) and modified MSK examinations to be used in a primary care MSK remote consultation.

Exploiting a texture framework and high spatial resolution properties of panchromatic images to generate enhanced multi-layer products: Examples of Pleiades and historical CORONA space photographs

ABSTRACT Remotely sensed high spatio-temporal resolution panchromatic images have been extensively used globally to visually detect and interpret changes in landscape components, create land cover maps via the on-screen manual digitization, and to pan-sharpen multi-spectral images among other uses. Despite this attractive array of uses, lack of distinct spectral signatures for panchromatic images from surface elements, e.g. landscape cover types, creates a drawback in their exploitation during any automated classification process, hence limiting their use in the field of remote sensing for land use/land cover change studies. Moreover, the complexities of some panchromatic data (e.g. CORONA) on the one hand, and the traditional texture computation approach on the other hand present additional hurdles in utilizing panchromatic images. This contribution looks at the possibility of exploiting panchromatic images (e.g. Pleiades and historical CORONA products) for remote sensing applications by (i) proposing a new approach that optimizes and generates new multi-layer datasets from panchromatic images that could be useful, e.g. in image classification analysis, (ii)exploiting the combinatorial texture approach to enhance the products generated by the framework in (i) above, and (iii) assessing the capability of the proposed method to handle complex datasets exemplified, e.g. by CORONA. To evaluate the approach, Kurdistan, Iran and Syria regions are selected for study employing the maximum likelihood classification (MLC) scheme. The MLC results indicate an increase in overall accuracy and Kappa coefficient by 32% and 0.42 (compared to raw CORONA image), and 21% and 0.28 (compared to raw Pleiades image). For Iran and Syria, compared to the raw CORONA image, the MLC results show increase by 35% and 0.47, and 42% and 0.56, respectively. Furthermore, based on the results of the accuracy assessment that show an overall accuracy of 85% and Kappa coefficient of 0.80 for Kurdistan, 94% and 0.92 for Iran, and 96% and 0.95 for Syria, the proposed method can be said to have the potential of handling complex panchromatic datasets such as CORONA.

Ethical Considerations in Clinical Photography: An Updated Perspective.

The use of medical illustrations for clinical documentation dates back several hundred years, as evidenced by artists’ engravings of pathologic skin conditions in fourteenth-century Europe.1 Clinical photography has since emerged as an important instrument for communication regarding a patient’s medical condition, particularly in the smartphone era. Compared to verbal or written descriptions, photographs convey superior clinical detail and understanding. In addition, clinical photography effectively mediates timely medical care and has been applied successfully in numerous specialties.2 Three categories typically define uses of medical images: clinical documentation, publication, and education. In plastic surgery, medical photography is used as an adjunct to clinical examination, for example, by facilitating visual demonstration of notable physical features by the surgeon to the patient in the preoperative and postoperative settings. In addition, it is used to substantiate research findings and also to teach trainees and surgeons about clinical management and surgical techniques. Occasionally, clinical photographs are also used for nonmedical purposes such as advertising and marketing.3 Despite the myriad benefits of clinical photography, several ethical issues must be considered (Table 1).1,4,5 These include informed consent regarding benefits, risks, and intended uses of patient photographs; privacy/confidentiality; appropriate distribution/storage; standardization of photographic procedure to facilitate consistent outcomes and equitable care; and use in social media. As a result, authors have proposed standards to facilitate appropriate and ethical implementation of clinical photography (Table 2).2,4 Table 1. - Ethical Considerations in Clinical Photography Principle Ethical Concern Description/Example Beneficence Photographs obtained to facilitate intended benefits Patients should benefit from photography (e.g., tracking response to intervention) or a secondary benefit (e.g., research) must be identified Nonmaleficence Patients not harmed by medical photography Patients should not be harmed by use of photographs (e.g., reduced confidentiality with inappropriate use) Patient autonomy Informed consent Patients educated on risks/benefits of medical photography and aware of intended uses (e.g., clinical care, research, marketing) Privacy Ensuring confidentiality and appropriate storage/dissemination Social media Inability to revoke consent once published by means of social media/Internet Justice Equitable use of medical photography Standardization of photographic procedure with consistent technology, lighting, distances, views, angles, camera settings Table 2. - Suggested Practices for Appropriate Clinical Photography • Informed consent should be sought before obtaining photographs; patients should be given the opportunity to consent to each use of their images • Consent may be withdrawn at any time • Patients should be made to feel comfortable by the photographer and medical team • Patient autonomy and dignity must be respected at all times • Complete anonymity should be attempted; if impossible, minimal identifiable exposure is recommended • Images must be stored in an environment that is safe, protected, and regulated • Photographic data should be deidentified and should be discarded securely when no longer needed • Photographic procedure should be standardized • Patients should be made explicitly aware of whether primary intended use is marketing, advertising, or social media; additional consent should be obtained • Provide appropriate photographs most similar to expected results and offer standardized photographic examples of complications Despite previous analyses of ethical concerns and promotion of good practices in clinical photography, there remains an important ethical consideration yet to be discussed. A common use of clinical photography by plastic surgeons is display of preoperative and postoperative photographs (online or in person) of prior patients for education and marketing to prospective patients. Generally, surgeons provide examples of successful cases, but do not offer unfavorable examples. We believe this is misleading and that both positive and suboptimal results ought to be provided to interested patients. We contend that this practice is ethically superior and may also improve patient care. First, providing both favorable and unfavorable case examples would facilitate a more comprehensive discussion of potential outcomes and risks, thereby augmenting the informed consent process. Although possible approaches to this practice (e.g., photographs of suboptimal results versus common complications; standardized photographic examples versus surgeon’s personal outcomes) require further investigation to identify best practice, a potential strategy would consist of showing appropriate photographs most similar to expected results for an individual patient and to offer standardized photographic examples of complications. This improved communication is also likely to advance the patient-physician relationship. In addition, surgeons may benefit, as patients would be less likely to suggest that preoperative discussions of potential complications were inadequate. Certainly, valid concerns exist with offering unfavorable case examples, including the theoretical risk of losing prospective patients. In addition, patients suffering poor outcomes may be less willing to consent to use of their photographs. Nevertheless, we believe that if photographs of successful outcomes are shown, ethical practice also compels provision of examples of unfavorable outcomes to interested patients, which will ultimately serve to improve patient care. DISCLOSURE The authors have no financial interest to declare in relation to the content of this article. No funding was received for this work.

Waste disposal facilities monitoring based on high-resolution information features of space images

In the article there is represented and solved the problem of space images recognition for the presence of solid household and industrial waste without binarization. The methods of stochastic geometry and mathematical analysis are used. In the work there is proposed an algorithm based on a trace transformation using discrete orthogonal transformations (DOT) to minimize the attribute space and carry out studies on correctness by Tikhonov. For the implementation of the algorithm there are used elements of mathematical analysis, wavelet analysis, functional analysis, theory of discrete orthogonal transformations, methods for deciphering space images in the problem of stochastic scanning of space images based on the formation of a triplet attribute with minimization of attribute space using DOT. The development a trace matrices and the selection of informative features by stochastic geometry to find WDF from high-resolution space images are investigated from the point of view of DOT apparatus application. A study of the sustainability task was also performed. The proposed technique was tested using the example of space photographs with a WDF image. Conclusions are drawn on the use of the method proposed in this article for the task of automatic computer generation and selection of informative features for determining waste disposal facilities from high-resolution space images. It is proposed to use the Tikhonov regularization method to introduce stability in this task.

Интермедиальные аспекты создания образов в поэтике романов Бернхарда Шлинка Женщина на лестнице и Ольга

The relevance of the chosen topic is determined by the opportunity of con-sidering the issue of intermediality that has a debatable nature according to Russian and foreign researchers. The aim of this paper is to identify the principles of intermedi-ality on the basis of a comprehensive philological analysis of two novels by B. Schlink: The woman on the stairs (2014) and Olga (2018), paying particular attention to the practical aspects of how ecphrasis is realized in the poetics of the above-mentioned works. The research tasks were accomplished based on critical analyses of the concepts formulated by well-known domestic and foreign researchers. As a result of the under-taken study, it was established that the key to the understanding of the ideological and artistic content of the works by B. Schlink are pictorial and photographic examples of ecphrasis having both plot-forming and characterological functions. Moreover, ethical and aesthetic conceptions contained in all works by B. Schlink were analyzed.

Gestualidades em convívio: um prelúdio à imagem em movimento através das conexões recíprocas de corpos e câmeras

The representation of emotions, feelings and affects is one of the attributions of which painters, sculptors, photographers or filmmakers are invested. A great deal of the creation’s experience is promoted by the meeting between the body of the artists and his or her models or actors/actresses. Through the possibilities produced by this association, some mysteries of the reciprocal connections between bodies and their technical instruments are found. In this article we are going to concentrate our efforts in some renowned studies on human expressions [Le Brun, Darwin] in order to map the vestiges of the ways of seeing and performing during the artistic act. Our focus is oriented towards some photographic examples [Rejlander, Duchene, Nadar] which, in our view, retain the seeds of the moving image and put in perspective some frontiers between fields of knowledge normally regarded as independent like art and science. Keywords: Photography. Cinema. Rejlander. Duchenne. Darwin. Le Brun.

Aldo Parisot, the Cellist: The Importance of The Circle by Susan Hawkshaw

Reviewed by: Aldo Parisot, the Cellist: The Importance of The Circle by Susan Hawkshaw Joseph Hafner Aldo Parisot, the Cellist: The Importance of The Circle. By Susan Hawkshaw. Hillsdale, NY: Pendragon Press, 2018. (Lives in music, no. 15.) [186 p. ISBN 978-1-57647-309-2. $48] Aldo Parisot is described by Janos Starker as "the best cello teacher of his time," as well as one of the top performers on the violoncello of the twentieth century. This Brazilian-born cellist worked with various famous musicians including Heitor Villa-Lobos, Claude Monteux, Zubin Metha, Yo-Yo Ma, Dave Brubeck, and more. He is famous for his work with the Yale Cellos, including conducting them performing the Bachianas Brasileiras No. 1 for cello ensemble and No. 5 for cello ensemble and soprano, recording with these works by Villa-Lobos the transcribed works of Bach that Parisot arranged for cello choir. He was recorded performing many works for cello. Villa-Lobos dedicated his Second Cello Concerto to him, and he worked closely with Villa-Lobos while it was being composed, which was among the many works he premiered by various composers. Chapter 1 begins with his life in Brazil, where he started playing at the age of seven and later made his professional debut at the age of twelve playing the Haydn D Major Cello Concerto. He began his studies with his stepfather, working only on solfège with him for two years before starting on the cello. He became known playing concerts around Brazil. In his twenties, an American, Carleton Sprague Smith, helped him meet Yehudi Menuhin, and then later arranged for him to go to the United States to study at the Curtis Institute. Chapter 2 looks at "Establishing Himself in the United States: Yale, Hindemith, and the Koussevitzky Prize: A Big Hug from Koussevitzky". While he came to the United States to study with Emanuel Feuermann, four months before he arrived, Feuermann passed away. He instead studied in the United States at Yale University, but was still greatly influenced by the cellist Emanuel Feuermann. He first performed in the United States with the Boston Symphony Orchestra at Tanglewood at the age of twenty-six, where he won the Koussevitzky Prize and an appearance with the Springfield Symphony. This chapter explores the first time he met Paul Hindemith and explores the beginning of their admiration for each other. [End Page 308] Next in his life, Chapter 3 is "Realizing a Dream: An International Solo Career". This is a period in his life where he toured as a soloist and played with various orchestras and conductors as he premiered various works, establishing himself as an exceptional performer. This period included his first of ten engagements with the New York Philharmonic starting in 1951. There are also accounts of exchanges he had with Leopold Stokowski, later concerts with Bernstein, and then with Zubin Meta. There is an extensive section on the premiere of the Villa-Lobos concerto, and finally a focus on his friendship with Janos Starker, another famous cellist and teacher. The next chapter is unnumbered and is titled "Entr'acte". This focuses on "Parisot as Painter: The Importance of the Circle". For him, the music and visual arts are connected, and one of these connections is expressed in the circle. In the 1940s, he was encouraged by various artists to pursue his second love, which was painting, and over time he had produced more than 3,000 works of art. These have been displayed at galleries, and many of his paintings hang in various locations, including the Yale School of Music. Photographic examples of his works are included in this chapter. The next is Chapter 4, which is titled "Extraordinary Performances: The Parisonatina and Others; The Alaska Trip: A Beaver Coat for the Cello". This chapter starts with a trip to Alaska; Parisot wrote about his experiences for a piece in the Reader's Digest and in general the trip was covered by the media, giving him lots of publicity from this trip. Later the chapter looks at many of the special performances he gave, including a performance of the Hindemith Cello Concerto with the composer conducting the New York...

An Early Photographic View of Auckland

An ambrotype photographic view of Auckland presents one of the earliest extant photographs of the urban landscape in the city. As a rare example of a landscape presented as a cased image it marks an early scenic view that would be repeated in later technology. Identification and supporting evidence dates the cased photograph to circa 1857. Of the photographers working in Auckland at that time two primary candidates for the creation of this work are discussed, Hartley Webster and John Nicol Crombie with the argument that the former is the most likely. Several other photographic views from 1858 to 1859 are shown as examples of known early landscape photographs of Auckland. One in particular shows a wider view taken from a similar point on Constitution Hill looking across to Mechanics Bay and Parnell.

“We were having a lot of fun at the photographers”

This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.