Among the various new modes for making photographs that were explored by Australian photographers in the first decades of the twentieth century, three in particular – Pictorialist images, authentic records, and personal snapshots – had far-reaching implications for the institutions of Australian photography. Pictorialist photographs are now the foundation of many Australian art museum collections; photographic records produced at the time have become iconic in Australian public history, forming the backbone of many social history collections; and personal snapshots from the period are increasingly reproduced in social histories. Historians of Australian photography have discussed and analysed each of these modes1, but they have tended to treat them separately, or even in opposition to each other, and to concentrate on the distinct careers of individual photographers. This article looks at this crucial period, and these key photographic modes, from the point of view of the worldwide networks and systems for the distribution, exhibition, collection, and indexing of photographs. We show how these modes, far from being distinct, overlapped one another as each grappled with the same issues of nation, history, and memory, and as each articulated their nationalistic concerns through international networks and idioms.

中文翻译：

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沙龙图片、博物馆记录和相册快照：第一次世界大战背景下的澳大利亚摄影

在 20 世纪头几十年澳大利亚摄影师探索的各种新的摄影模式中，特别是三种——绘画主义图像、真实记录和个人快照——对澳大利亚摄影机构产生了深远的影响。绘画主义照片现在是许多澳大利亚艺术博物馆藏品的基础。当时制作的摄影记录已成为澳大利亚公共历史的标志，形成了许多社会历史收藏的支柱；那个时期的个人快照越来越多地在社会历史中再现。澳大利亚摄影史家已经讨论和分析了这些模式中的每一种，但他们倾向于将它们分开处理，甚至相互对立，并专注于个别摄影师的独特职业。本文从全球分布、展览、收藏和索引照片的网络和系统的角度来审视这个关键时期和这些关键的摄影模式。我们展示了这些模式在处理相同的民族、历史和记忆问题时如何相互重叠，并通过国际网络和习语表达了他们的民族主义关切。