Woman seated on cane chair

Photographer Samuel J Hood Studio (Australian, 1899 - 1953)

Datec 1915

Object number00023191

NameNitrate negative

MediumEmulsion on nitrate film.

ClassificationsPhotographs

Credit LineANMM Collection

Terms

Sydney

DescriptionThis photograph depicts a woman seated wearing a lace embroidered dress. It is possible that she is American shipowner Captain Edward Robert Sterling's first daughter, Ethel Manila Sterling. Ethel was born on 20 February 1895 (or 1897) in Manila, the Philippines. She married Harry T Kelsh Junior and, according to the 1920 US census, she was 23 and he was 30 years old at the time. Listed as a housewife, this information was crossed out and replaced with the word ‘none’. Her husband Harry was born in Pennsylvania and served as a commissioned officer in the US Coast and Geodetic Survey from April 1911 to September 1917, and as 1st lieutenant in the Air Service from that time until December 1918. By 1930 US Census, he was working in finance in the banking industry. It is possible that this photograph was taken in the saloon on board the six-masted barquentine E R STERLING. The saloon on E R STERLING was considered state-of-the-art for its day. According to the 'Cairns Post', it moved beyond 'cramped quarters' and 'hurricane lamps' to a player piano and a gramophone, which the ship's owner Captain Edward Robert Sterling had concealed in the room's centre table. It was an 'ingenious combination' of music and dining table.HistorySamuel (Sam) John Hood (1872-1953) was born at Glenelg, Adelaide in 1872. His father, John Hood, was a photographer who worked for Duryea's Adelaide Photographic Company. In 1883 John moved with his family to Sydney, and in 1884 Sam followed his lead and began work for another photographer, William Tuttle in Tuttle's Studio, George Street, Sydney. In 1899 Sam Hood established his own portrait business at The Adelaide Photographic Co, 256 Pitt St, Sydney. Due to two fires in the studio in the early years he worked from his Balmain home, where he constructed a darkroom, and photographed the shipping trade and waterfront workers, which provided a steady income for his growing family. Hood would approach a ship on the assigned tug boat and photograph it as it lay off Sydney Heads. Once the ship reached the dock, Hood would board the vessel and approach the captain to allow him to sell the photographs of the ship to the crew. The captain authorised for the photographs to be paid for by the shipping company and then deducted a fee from the crew's wages. In addition to the photographs, Hood worked with ship artists to produce views of vessels under sail. In turn, Hood’s photographs of vessels with their sails furled were used by artists to paint ship portraits. Hood would approach the captain of a ship with a painting in oil or watercolour, and ask to borrow the rigging plan on the promise of a similar work. Hood is known to have worked with maritime artists Walter Barratt, Reginald Arthur Borstel, George Frederick Gregory, and John Allcot, who was reputedly hired from the MILTIADES after Hood spotted him peddling his wares on board. The State Library of NSW holds a significant collection of Hood photographs. The ANMM collection comprises of some 9,000 photographs of maritime subjects. It documents the end of the sailing ship era and the growing dominance of steam vessels. This technological advancement had implications for Hood’s business, as steamship crews were less inclined to request photographs of their vessels. During the 1910s, Hood had acquired cheap premises at the Dore Studio in the Queen Victoria Markets and continued to produce studio portraits, in addition to ship photography. However in 1918 Hood transferred to Dalny Studio at 124 Pitt Street, Sydney. Originally owned by Thomas Cleary, Dalny Studio had a contract to supply photographs to the newspapers Melbourne Argus and the Australasian. This soon also included the Daily Guardian, Daily Telegraph Pictorial, The Labour Daily, Daily News, Sun, and The Sydney Morning Herald. During the 1920s Hood's work moved from the social and sport pages of newspapers into mainstream reportage. During the Great Depression of the 1930s, Hood’s employees included his children Ted and Gladys, as well as several photographers who went onto successful careers as press photographers for various newspapers. At the outbreak of the Second World War Hood, aged 70, was recruited by the Ministry of News and Information to document the armed services. This period also witnessed the decline of formal studio portraits, which led the Hood studio to pursue more commercial commissions. Sam Hood continued working at his studio up to his death in June 1953. He had used the same modified Folmer & Schwing Graflex camera for over forty years.SignificanceThe Samuel J Hood photographic collection records an extensive range of maritime activity on Sydney Harbour, including sail and steam ships, crew portraits, crews at work, ship interiors, stevedores loading and unloading cargo, port scenes, pleasure boats and harbourside social activities from the 1890s through to the 1950s. They are also highly competent artistic studies and views - Hood was regarded as an important figure in early Australian photojournalism. Hood’s maritime photographs are one of the most significant collections of such work in Australia.