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Rencontres sourds malentendants

I am a dealer of early traditional objects from the Pacific island cultures and a seeker of knowledge thus I was originally buying early photos only for their ethnographical content.

Images of objects and people with them were of great interest as a supplement to the academic literature. Later on, having met other collectors and dealers of early photography and most notably Daniel Blau I began to look at the images as a distinct art form.

It was not easy seeing and understanding for the first time why and how a photograph is ART. I came to see how the photographer sought the best angle, the right light, THE moment.

I began to understand the differences between the types of paper, the various chemicals it was and still is alchemy really! Now when I buy photographs I seek the beauty of the print, the depth of the contrasts and the shades of grey and sepia.

The ethnographic content is still of importance but my eye has evolved and now my hand reaches out towards the aesthetic in the images rather then the academic.

This exhibition is the second time a small part of the collection is shown. It is my hope that more of our collection be shown in the future and that our endeavor will help to bring to the lime-light the wonderful work of the pioneer photographers in the South Pacific who worked in often appalling Rencontres sourds malentendants carrying huge box cameras, tripods, glass plate negatives and gallons of chemicals through the exuberant and hostile bush in tropical climates.

I am delighted that Allison Huetz, as curator of our collection has accepted the extra work of preparing this exhibition and writing this ground breaking catalogue and may she be gratefully thanked here for her hard and inspired work.

This group of items raises questions about the links existing between this area of the Pacific and the new technological devices such as photography, used by explorers, ethnologists, seafarers, missionaries and photo-journalists in the second half of the 19th century and the first half of the 20th century to document, study and also tell of this part of the world.

We do not know for sure when the first photograph of the Solomon Islands was taken. A letter from Captain Denham to the Admiralty confirms that James Glen Wilson took photographs during this second trip.

Another commander, Arthur Onslow, serving on the same ship as James Glen Wilson, might have learnt with him and might also have taken photographs during this expedition Geoff Baker, Alphabetical index nineteenth-century photographers.

Photography is a technological innovation brought by Europeans to the Solomon Islands at a time when they were trying to strengthen their power in this part of the world. The visual accounts presented in the exhibition are thus exogenous accounts made by strangers in the context of colonisation and evangelical missions.

In contrast with Fiji or Samoa, where a strong presence of expatriates is recorded as soon as the second half of the 19 th century, the Solomon Islands remained isolated, remote from increasing exchange and trading — even after the advent of the British Protectorate in This specificity explains why photography, particularly its commercial side with professional studios settling up all around the Pacific, did not develop in the Solomon Islands during the 19th century Christopher Wright, The first recorded portraits of Solomon people have in fact been taken by professional studio photographers based in Fiji or Samoa.

The first part of the exhibition presents a set of 10 portraits of Solomon men taken between and The names of the photographers inscribed on the reverse of these images with stamps or blind stamps, show how widely they have been distributed — and often re-sold to other studios who then commercialised them under their name.

However, several important scientific publications of the late 19th century used these photographs in the form of drawings or engravings, changing the backgrounds to appear as if taken in-situ.

But this should not make us forget that a large part of the images presented in the exhibition have been made in the Solomon Islands, by seafarers or explorers — most of them British but not exclusively — during their trips or stays in the region, as of the s. Before this decade, the people who took photographs are but a handful.

In the incomplete history of photographic exploration, a few names do stand out: Smith, a professional photographer who went with Charles Wood on his trip to the South Seas and stopped in the Solomon Islands around ; or Henry Guppy who made anthropometrical studies on Solomon people during his hydrographic survey trip in onboard HMS Lark.

Rencontres sourds malentendants

Geoff Baker, Alphabetical index nineteenth-century photographers. Dans cette histoire lacunaire des explorations photographiques, quelques noms ressortent pourtant:Rencontre avec Éric Delgado de la Ligue pour la Protection des Oiseaux À partir de 6 ans Rencontrez un spécialiste des rapaces et apprenez à mieux connaître les vautours.

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