New Zealand photography first emerged in the mid-nineteenth century, and over time has become an important part of New Zealand art. A number of photography associations exist to support photographers in New Zealand.
New Zealand photography began in the mid-19th century when photographers first documented the country's natural beauty and people. The first photographs of the world-famous Pink and White Terraces were taken in 1859 by Bruno Hamel on Ferdinand Hochstetter's expedition. [1] Local photographers embellished, staged and sometimes faked early tourist prints to ensure sales. [2] Alfred Burton, of the Dunedin Burton Brothers, also travelled through many of the Pacific islands near New Zealand with the P&O Shipping line, in the early days of tourism through the region. The photographic collections at Museum of New Zealand Te Papa Tongarewa, the national museum, hold many of the surviving images from this era, including images by Thomas Andrew, Leslie Adkin, James Bragge, Leslie Hinge and Spencer Digby in addition to archives of the Burton Brothers, Alfred James Tattersall and John McGarrigle's American Photographic Company. The Alexander Turnbull Library in Wellington also hosts a significant catalogue of historic images, many of which can be viewed online and browsed by location, name, and more. The seminal development history of New Zealand photography was written by medical photographer and historian Hardwicke Knight in 1971. Archives New Zealand hold photos from government departments such as the National Publicity Studios and some individuals employed by government such as Leslie Hinge.
George D. Valentine was a Scottish photographer, who relocated to New Zealand due to his health, and documented much of the country at a time of great transition – his images of the Pink and White Terraces, taken in 1885, show scenes of incredible beauty that were buried less than a year later by 1886 eruption of Mount Tarawera. An exhibition of his work was mounted by the Christchurch Art Gallery in 2004.
Contemporary New Zealand photographers include Laurence Aberhart, Mark Adams, Brian Brake, Ben Cauchi, Marti Friedlander, [3] Anne Geddes, Anne Noble, [4] Fiona Pardington, [5] Patrick Reynolds, [6] Yvonne Todd, [7] Christine Webster, Rita Dibert, Yvonne Westra and Ans Westra. [8] Luit Bieringa has curated a number of influential New Zealand photography exhibitions.
The New Zealand Institute of Professional Photography [9] has a membership of 250 professional photographers, and the Advertising & Illustrative Photographers Association comprises another hundred or more.
Many amateur and professional New Zealand photographers are members of PhotoForum NZ, a non-profit society that publishes PhotoForum magazine, organises exhibitions, workshops and lectures, and maintains a website.
The Photographic Society of New Zealand [10] is also a popular group for amateurs, representing camera clubs throughout the country.
New Zealand has two locally produced publications for the photographic community: The Photographer's Mail (focuses on the professional and industry) and D-Photo (focuses on the consumer and enthusiast).
The Pink and White Terraces, were natural wonders of New Zealand. They were reportedly the largest silica sinter deposits on Earth. They disappeared in the 1886 eruption of Mount Tarawera and were generally thought to have been destroyed, until evidence emerged in the early twenty-first century of their survival.
Anna Jacoba Westra, known as Ans Westra, was a Dutch-born New Zealand photographer, well known for her depictions of Māori life in the 20th century. Her prominence as an artist was amplified by her controversial 1964 children's book Washday at the Pa.
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation.
Lee Friedlander is an American photographer and artist. In the 1960s and 1970s, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street signs. His work is characterized by its innovative use of framing and reflection, often using the natural environment or architectural elements to frame his subjects. Over the course of his career, Friedlander has been the recipient of numerous awards and his work has been exhibited in major museums and galleries worldwide.
John Brian Brake was a photographer from New Zealand. He is best known for his 1955 photographs of Pablo Picasso at a bullfight, his 1957 and 1959 series of China, and his 1960 Monsoon series of India.
Martha Friedlander was a British-New Zealand photographer. She emigrated to New Zealand in 1958, where she was known for photographing and documenting New Zealand's people, places and events, and was considered one of the country's best photographers.
Laurence Geoffrey Aberhart is a New Zealand photographer.
Alfred Henry Burton is a nineteenth-century New Zealand photographer.
Walter John Burton (1836–1880) was a New Zealand nineteenth-century photographer.
Frederic Hardwicke Knight, QSO was a London-born photographer, historian and collector who emigrated to New Zealand in 1957 to take up a medical photography position in Dunedin. He lived at Broad Bay until ten months before his death at a Dunedin nursing home. His publications include New Zealand's first comprehensive photographic history, many compilations of early Dunedin and Otago photographs, biographies of several early New Zealand photographers and of British photographer William Russell Sedgfield, three books of architectural history and a seminal history of the Otago Peninsula. He was awarded a QSO in 1991. An eccentric polymath, Knight was well known for his striking appearance, his ramshackle Broad Bay cottage crammed with his collections and his self-proclaimed exploits, most notably his claim to have found timbers on Mount Ararat that might have been Noah's Ark.
George Dobson Valentine (1852–1890) was a Scottish photographer.
Fiona Dorothy Pardington is a New Zealand artist, her principal medium being photography.
The Active Eye was a 1975 exhibition of work by contemporary New Zealand photographers, originated by the Manawatu Art Gallery in Palmerston North and touring to other galleries around New Zealand. The exhibition was one of the first to focus on contemporary photography in New Zealand, and attracted considerable controversy around the works included by artist Fiona Clark.
Peter Chanel Peryer was a New Zealand photographer. In 2000, he was one of the five inaugural laureates of the Arts Foundation of New Zealand.
Christine Webster is a New Zealand visual artist and photographer.
Gillian Chaplin is a New Zealand photographic artist and curator. Her works are held in the collections of Museum of New Zealand Te Papa Tongarewa and Auckland Art Gallery Toi o Tāmaki.
PhotoForum Inc. is a non-profit New Zealand photography organisation founded 12 December 1973 in Wellington "dedicated to the promotion of photography as a means of communication and expression," and is also the title of its magazine, first published in February 1974.
Edith Amituanai is a New Zealand photographic artist. In 2007, she was the inaugural recipient of the Marti Friedlander Photographic Award. Examples of her work are held in the collections of Te Papa, Auckland Art Gallery, and the Govett-Brewster Art Gallery.
Jonathan Green is an American writer, historian of photography, curator, teacher, museum administrator, photographer, filmmaker and the founding Project Director of the Wexner Center for the Arts. A recognized authority on the history of American photography, Green’s books Camera Work: A Critical Anthology (1973) and American Photography: A Critical History 1945–1980 (1984) are two notable commentaries and frequently referenced and republished accounts in the field of photography. At the same time Green’s acquisitions, exhibitions and publications consistently drew from the edges of established photographic practice rather than from its traditional center. He supported acquisitions by socially activist artists like Adrian Piper and graffiti artist Furtura 2000, and hosted exhibitions on Rape, AIDS, new feminist art, and the work of photographer, choreographer and dancer Arnie Zane, the Diana camera images of Nancy Rexroth, the Polaroids and imitation biplanes of folk artist Leslie Payne, and the digital photographic work of Mexican photographer Pedro Meyer. This alternative focus help prime Green and the competition jury to choose an unconventional, deconstructive architect, Peter Eisenman, previously known primarily as a teacher and theorist, as the architect for the Wexner Center for the Arts. Green has held professorial and directorial positions at Massachusetts Institute of Technology, Ohio State University, and University of California, Riverside.