Understandable, it seems, that a commercially produced photograph in 1860s-1870s Tasmania would show some sort of colouring to enhance its decorative or sentimental appeal, especially if the narrative suggested by the photograph was the civilizing of Tasmanian Aborigines who were thought to be near extinction by the last few decades of the 19th century, and that the photographic studio renowned for bold artistic experimentations with colouring was Friths on Murray Street, Hobart. Less understandable is the hand-tinting of photographs of prisoners – or “Convict Portraits” as they became known – taken expressly for police use as gaol records, unless, of course, the photographic studio engaged for the purpose of providing those mugshots was operated by Thomas J. Nevin, on Elizabeth Street, Hobart. … More Calling the shots in colour 1864-1879
This photograph – a standard 1870s carte-de-visite prisoner mugshot in an oval mount produced by Thomas J. Nevin – has escaped the attention of photo-historians of the 1870s Tasmanian prisoners’ identification photographs, the so-called “Convict portraits, Port Arthur 1874” labelled and catalogued as such in Australian national collections, viz. the National Library of Australia, Canberra, the Tasmanian Museum and Art Gallery, Hobart and the Queen Victoria Museum and Art Gallery, Launceston. It belongs to the same series of fine albumen prints in oval mounts of prisoners taken by commercial and police photographer Thomas J. Nevin for the HCC Municipal Police Office and Hobart Gaol authorities from 1872 to the mid 1880s. … More Prisoner Robert aka James OGDEN, photographed by Nevin 1875
The “vernacular” is defined as any photography that is not “art”: postcards, insurance records, passport photos, touristic photos, court documents, scientific images, forensic photographs taken at crime scenes etc etc. Thomas J. Nevin is somewhat remarkable in that his photographic records for the police, especially from the years 1872-1880s, are among the earliest to survive in Australian public collections and that his prisoner portraits are claimed as both art and vernacular photography. His portraiture techniques applied to judicial photography were “artistic” in a way that the mugshots produced by prison photographers in jurisdictions elsewhere such as Victoria & NSW, in Australia, and Millbank and Pentonville, in the UK were unequivocal, documentary captures. Nevin’s prisoner photographs were not only posed, printed and framed as commercial portraits – either soft-focus framing or vignetted with darker backcloths – in some instances, they were also hand-coloured for heightened realism. … More Vernacular or art? Nevin at the threshold in 1874
You must be logged in to post a comment.