In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these ‘portraits in a machine’ reveal Māori and Pākehā to themselves and to each other? Were the first photographs ‘a good likeness’ or were they tricksters? What stories do they capture of the changing landscape of Aotearoa?
From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealand’s first photographs reveal Kīngi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes.
A Different Light brings together the extraordinary and extensive photographic collections of three major research libraries – Tāmaki Paenga Hira Auckland War Memorial Museum, Alexander Turnbull Library and Hocken Collections Uare Taoka o Hākena – to coincide with a touring exhibition of some of the earliest known photographs of Aotearoa.
Māu he kāmera! Māu he kāmera! Mā tātou he kāmera!
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Catherine Hammond is Hocken Librarian at the University of Otago Te Whare Wananga o Otakou. She manages the cultural collections at Hocken Library and the University Library's Special Collections. She was formerly head of documentary heritage at Tamaki Paenga Hira Auckland War Memorial Museum and research library manager at Auckland Art Gallery Toi o Tamaki. Shaun Higgins is curator pictorial at Tamaki Paenga Hira Auckland War Memorial Museum. He has worked on exhibitions for two decades, most recently Robin Morrison: Road Trip (2023). He has an MA, BA and PGDip from the University of Auckland in anthropology, art history and museum studies, and further qualifications in photography and care and identification of photographs.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardcover. Etat : new. Hardcover. In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these portraits in a machine reveal Maori and Pakeha to themselves and to each other? Were the first photographs a good likeness or were they tricksters? What stories do they capture of the changing landscape of Aotearoa?From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealands first photographs reveal Kingi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes.A Different Light brings together the extraordinary and extensive photographic collections of three major research libraries Tamaki Paenga Hira Auckland War Memorial Museum, Alexander Turnbull Library and Hocken Collections Uare Taoka o Hakena to coincide with a touring exhibition of some of the earliest known photographs of Aotearoa.Mau he kamera! Mau he kamera! Ma tatou he kamera! The mihini miharo reveals nineteenth-century Aotearoa as never before. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781869409944
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Hardcover. Etat : Near Fine. A very close to new copy. In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these 'portraits in a machine' reveal M?ori and P?keh? to themselves and to each other? Were the first photographs 'a good likeness' or were they tricksters? What stories do they capture of the changing landscape of Aotearoa? From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealand's first photographs reveal K?ngi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes. N° de réf. du vendeur 051262
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Hardback. Etat : New. In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these 'portraits in a machine' reveal Maori and Pakeha to themselves and to each other? Were the first photographs 'a good likeness' or were they tricksters? What stories do they capture of the changing landscape of Aotearoa?From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealand's first photographs reveal Kingi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes.A Different Light brings together the extraordinary and extensive photographic collections of three major research libraries - Tamaki Paenga Hira Auckland War Memorial Museum, Alexander Turnbull Library and Hocken Collections Uare Taoka o Hakena - to coincide with a touring exhibition of some of the earliest known photographs of Aotearoa.Mau he kamera! Mau he kamera! Ma tatou he kamera! N° de réf. du vendeur LU-9781869409944
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Hardcover. Etat : new. Hardcover. In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these portraits in a machine reveal Maori and Pakeha to themselves and to each other? Were the first photographs a good likeness or were they tricksters? What stories do they capture of the changing landscape of Aotearoa?From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealands first photographs reveal Kingi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes.A Different Light brings together the extraordinary and extensive photographic collections of three major research libraries Tamaki Paenga Hira Auckland War Memorial Museum, Alexander Turnbull Library and Hocken Collections Uare Taoka o Hakena to coincide with a touring exhibition of some of the earliest known photographs of Aotearoa.Mau he kamera! Mau he kamera! Ma tatou he kamera! The mihini miharo reveals nineteenth-century Aotearoa as never before. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. N° de réf. du vendeur 9781869409944
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Hardcover. Etat : new. Hardcover. In 1848, two decades after a French inventor mixed daylight with a cocktail of chemicals to fix the view outside his window onto a metal plate, photography arrived in Aotearoa. How did these portraits in a machine reveal Maori and Pakeha to themselves and to each other? Were the first photographs a good likeness or were they tricksters? What stories do they capture of the changing landscape of Aotearoa?From horses laden with mammoth photographic plates in the 1870s to the arrival of the Kodak in the late 1880s, New Zealands first photographs reveal Kingi and governors, geysers and slums, battles and parties. They freeze faces in formal studio portraits and stumble into the intimacy of backyards, gardens and homes.A Different Light brings together the extraordinary and extensive photographic collections of three major research libraries Tamaki Paenga Hira Auckland War Memorial Museum, Alexander Turnbull Library and Hocken Collections Uare Taoka o Hakena to coincide with a touring exhibition of some of the earliest known photographs of Aotearoa.Mau he kamera! Mau he kamera! Ma tatou he kamera! The mihini miharo reveals nineteenth-century Aotearoa as never before. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. N° de réf. du vendeur 9781869409944
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