1319
in his 1875 book covering his The Straits of Malacca,
Indo-China and China, or, Ten years’ travels, adventures
and residence abroad.
As elsewhere in Southeast Asia, photographers
migrated to new markets opned up by colonisation. M.
Martin from Singapore was noted for fi ne landscape
views in the 1880s. The Chinese diaspora reshaped many
communities in Southeast Asia; Pun-Ky marketed cdv
portraits of Annamite (Vietnam) types probably from the
1870s as did Pun-Lun who had worked in Hong Kong
had a studio in Saigon (opposite that of Gsell) from
1869–1872. A rare Vietnamese name appears; Dang
Huy Tru, a retired Mandarin who learnt photography
while in China, had a studio in Hanoi from 1869 until
the French occupation of 1873. He is claimed to have
attracted Vietnamese clientele and developed a style of
pose based on ancestor portraits but such posing was
common to costume portraits and types across Southeast
Asia. Other Vietnamese names do not appear although
in 1896 Cam Ly was in business in Hanoi. By the 1880s
Chinese-born photographers were at work in most
regions chiefl y in portrait work. Few of their archives
are identifi able but some more substantial commissions
survive such as the photographs of the French railway
constructed from 1889–1897 between Hanoi and Lang
Son which executed by Tong Sing. Yu Chong had a
studio in Hanoi in 1893–1900.
A number of Europeans in service in Asia became
interested in not only the culture of the past but had a
feeling for the life of the contemporary peoples. Like
so many men attached to the military abroad, Doctor
Charles-Édouard Hocquard (1855–1911), who was
on service in Tonkin in 1884–1885 in the Franco-
Chinese War, published his photographs offi cially and
privately. His fi eld report on the war illustrated with
Woodbury types was subtitled ‘customs and beliefs of
the Vietnamese, and was, serialised as ‘Trente mois au
Tonkin,’ in Le tour du monde, 1889–1891. Aurélian
Pestel (1855–1897) took up photography in Saigon in
1892 having arrivied in Vietnam in 1883. He was also
noted for showing the customs of the country beyond
studio enactments.
The new generation rising in the late 19th century
but coming most to the fore after 1900 in the early de-
cades of the 20th century, looked beyond hard objects to
lifestyle and customs, including Sub Lieutenant Étienne
Francoise Aymonier (1844–1929) in the French Marine
infantry in Saigon who learned the Cambodian and
Vietnamese languages.
The image of Southeast Asia was shaped and defi ned
by early photographers and the legacy inherited revolved
around a nostalgia as well as scholarly pursuit of antiq-
uities. Photomechanical reproduction in photogravure,
carbon, and woodburytpe created a new industry at the
turn of the century of which a former soldier sent to
Hanoi in 1885, Pierre M. Dieufi ls of Saigon, is one of
the best knownt. His distinctive landscape folio publica-
tions were typical of the late 19th and early 20th century
mass-produced works.
Gael Newton
See also: Burger, Wilhelm Joseph; Chit, Francis; Itier,
Jules; Thomson, John; and Expedition Photography.Further Reading
Anek Nawikkamun, Tamnan nai phap kao / `Anek Nawikkamun.
Phim khrang raek Krung Thep: Samnakphim Matichon, 1998.
(Anake Nawikkamun is author of a number of detailed histo-
ries of photography in Thailand which await translation.)
Aubenas, Sylvie et al., Photographes en Indochine: Tonkin, An-
nam, Cochinchine, Camboge et Laos au XIX Siècle, Marval
and Réunion des Musées Nationaux, Paris, 2001.
Pongrapeeporn Pipat. The Panorama of Bangkok in the Reign of
King Rama IV: A New Discovery by Pipat Pongrapeeporn,
Photographs by Francis Chit. Bangkok: Muang Boran Pub-
lishing House, 2001.
Peleggi, Maurizio, Lords of Things, Hawaii: University of Hawaii
Press, 2002.
Moeshart, Herman J., “Daguerreotypieren unter der Tropensonne.
Adolph Schäfer in Niederländisch-Indien,” In Silber und Salz.
Zur Frühzeit der Photographie im deutschen Sprachraum,
1839–1860, edited by Bodo von Dewitz and Reinhard Matz,
Cologne: Edition Braus, 1989.
Falconer, John, “Photography and ethnography in the colonial
period in Burma.” In Frontier Photography Burma, 29.
Singer, Noel F., Burma a photographic journey 1855–1925,
Stirling:Paul Strahan-Kiscadale Ltd, 1993.
Singer, Noel, and Felice Beato’s, “Burmese Days,” Arts of Asia
(September–October, 1998): 96–107.
Moeshart, Herman. “Daguerreotypes by Adolph Schaefer.” His-
tory of Photography 9 (July–September 1985): 211–218.
Jehel, Pierre-Jéröme, Photographie et anthropologie en France
au XIXe siècle. Mémoire de DEA ‘Esthétique, sciences et
technologie des arts’ UFR ‘Arts, Philosophie et esthétique.’
Université Paris VIII. Saint Denis.SOUTHWORTH, ALBERT SANDS
(1811–1894) AND HAWES, JOSIAH
JOHNSON (1808–1901)
In 1840, the daguerreotype exploded onto the American
social scene. Thousands took up the business and even
more the sitter’s chair. Yet with primitive technology,
erratic rewards and intense competition, professional
survival was diffi cult. Albert Sands Southworth and
Josiah Johnson Hawes epitomized the talents needed
to succeed in the chaotic early years of photography.
Coupling ingenuity and expertise with great patience
and hard work, their partnership was exemplary. Their
studio was among the most distinguished and infl u-
ential in America and their achievement ranks among
the most important in nineteenth-century photography.
Southworth was a natural promoter and salesman
whose restless nature and fi nancial cupidity drove him