Cirkut panoramas

Given their application to the fields of reconnaissance, surveillance and the gathering of intelligence, the course of the First World War was in many ways dependent on the production and circulation of panoramic photographs. Panoramas were regularly produced to record the topographical features of a particular landscape; carried by infantrymen in the field, they were often inscribed with gunnery data and used like maps to guide movement. A range of devices were developed in order to make these panoramic landscapes, including single-plate cameras where images were joined to form a larger whole, wide-angle lens camera, cameras with bodies and films that moved and, although we have no record of any Australian use of this device, a miniature panoramic camera with a swivelling lens and curved film that was carried by a pigeon in flight.

Most panoramic photographs were composed of a series of joined individual photographs until the turn of the century, when the Al Vista camera (No. 4 model, 1898), Kodak’s Panoram Camera (No. 4 model, 1899) and the more cumbersome Cirkut camera (1904) provided photographers with an accessible means to record one continuous panoramic image.

The most significant contribution made by a camera to the history of panoramic photography has been made by the Cirkut. Initially made by the Rochester Panoramic Camera Co., the Cirkut was acquired by Kodak in 1907, in a move that gave the company dominance of the panoramic camera market. The Cirkut was available in five sizes, and was widely marketed to both amateur photographers and professionals (surveyors, real estate developers, engineers, miners) whose business would benefit from the panoramic documentation of land — advertisements that often tied the Cirkut to a history of panoramic photographs in the aid of land and mineral exploration.

The Cirkut used a long film that was progressively exposed as the camera, rotating on a spring-mounted tripod, tracked its subject. The camera is capable of recording a 360 degrees view of its subject on, depending on the model, a negative stretching over six metres in length. The usefulness of the camera to a range of military applications was soon realised, and one was ordered for the ambitious purpose of producing a comprehensive visual record of the Australian troops who had survived the war. The Cirkut provided an expansive scale and a level of detail that made it possible to photograph entire battalions (arranged in an arc around the camera), in a way that registered the size of the unit at the same time as providing a clear, focussed image of each individual shown.

The Australian War Records Section (AWRS) acquired a Cirkut camera in January 1919 with the intention of documenting the units that remained in France and England. The operation of the camera was the responsibility of Cyril J Jackson (1892–1948). Jackson had worked as a professional photographer in Melbourne before embarking for England on RMS Omrah on 17 January 1917 with the 4th Squadron; he later served with the 71st Squadron of the Australian Flying Corps. On 3 December 1917, Jackson was brought across to the photographic sub-section of the AWRS and spent large periods of the following 20 months in France as an official photographer. He took charge of the section’s new Cirkut No. 10 camera in January 1919.

However, by the time the AWRS took possession of its Cirkut in January 1919, Australian units were in the process of disbanding, and demobilised troops on the journey home. Rather than photographing entire battalions as had been hoped, the Cirkut would only record what could be pulled together of a particular brigade. With this in mind, authorities were consequently quick to deem the Cirkut “somewhat of a failure” (John Treloar).

Even so, the camera was responsible for some of the most spectacular photographic images to have been made during the war. As well as producing photographic group portraits of troops that in terms of scale and complexity were unprecedented in the history of Australian photography, it was also used to make a number of compelling panoramic landscapes of the battlefields over which those troops had fought during the previous three years. Some of these landscapes depict places that had recently seen action, including the ruined village Aisne that had been captured in late September 1918 by American troops operating under General Monash.

On their first day in the ‘Old ANZAC area’*, Lambert and Hubert Wilkins (the official photographer of the Australian Historical Mission) were taken down to ANZAC Cove by Charles Bean. Bean was keen to introduce them to the area and show them the dugout that he had occupied during 1915. The following day, 16 February 1919 Lambert made another visit to the beach and then again the next day. As a group they retraced the steps of Hedley Vicars Howe who as a Private had landed with 11 Battalion on the morning of 25 April 1915. Howe’s account of the landing and climbing up Plugge’s Plateau would also largely inform the narrative that runs through Lambert’s large commissioned work ANZAC, the landing 1915. (a separate post to follow)

Lambert held off painting an ANZAC Cove subject until towards the end of his stay on Gallipoli with the Australian Historical Mission. On 5 March he made a painting of the beach with the hills of Suvla in the distance and wrote: “In the afternoon I did a picture, not a sketch, of ANZAC Cove, chiefly palette-knife, and quite like it”. This work – unusual for Lambert in that as he observes he used a palette knife – is quickly sketched in with only the barest indication of the complex topography of the slopes leading up from the beach. But, his painting also shows the debris of war still littered across the beach including the ruins of a water-condensing plant.

Hubert Wilkins also took a photograph of the scene from the beach level and this more clearly shows the remnants of the terraces and rubbish along the water line. Wilkins’ and Lambert’s images are both classically composed with the sweeping curve of the bay, but each conveys a different sort of information. Wilkins’ photo indicates the stucture of the altered landscape and gives an immense amount of information – Lambert gives us an impression of the confused and still raw landscape of war.

In 2007 the scene has changed dramatically. The beach is shallower due to the build up required to support the road and possibly the natural shifting processes of coastlines has contributed to this erosion. Ari Burnu headland is clothed in green scrub and any terrace contours are invisible in the dense vegetation. However, as you come around the road past Hell Spit and see ANZAC Cove for the first time, it is still instantly recognisable by the curve of the beach and distinctive profile of the headland.

* Charles Bean used the term ‘Old ANZAC area’ in his book Gallipoli Mission to denote all the ground held by the ANZAC forces from April 1915 until the second major thrust in August 1915.

Gaba Tepe, 21 April 2007

In late April the days on the Gallipoli peninsula are warm and the evenings cool. Across the peninsula the landscape is a mix of rich and interesting bushy scrub as well as farming land with olive groves, wheat fields and almonds growing wild along the roads. In many places Aleppo pine trees make dense shaded groves and the arbutus shrub provides a rich green contrast to the otherwise softer grey greens of the peninsula.

The arbutus shrubs dominate the ANZAC area giving the slopes a bronze-ish tint in the late afternoon light. This year, the warmth of an early spring has brought a flush of wild flowers out across the slopes and plateaus of Gallipoli. In the higher areas along Plugge’s Plateau and Lone Pine the soft grey green brush has a carpet of white Gallipoli roses (Cistus salvifolius) underneath, occasionally interspersed with a pinky mauve variety.

Euphorbias, brilliant yellow or dull red are found in the drier areas and along the roadsides and wheat fields red poppies float in the light breeze. Around the cemeteries, the Commonwealth War Graves Commission has planted species that will flower in April; purple and white iris are common and an occasional late anemone can still be found in the lawns.

When Lambert visited Gallipoli in February 1919, it was late winter and he had to paint in icy winds and rainstorms. Despite the conditions, several of the early spring flowers were out. Understanding the landscape, its form, structure and colour was an important aspect of his work and he made detailed studies of the local plants as preparation for the later canvasses ANZAC, the landing 1915 and The charge of the 3rd Light Horse Brigade at the Nek, 7 August 1915.

Lambert’s intention was to make a series of watercolours of the local flora as a record of the natural history of the area but in the end he made only one watercolour of an individual species – an arbutus plant. Lambert described the landscape as mostly being made up of a local scrub about 2ft high with “rather a wax like leaf with a sort of blossom something like a laurel but with red stalks or sticks.”

His other well known work is Gallipoli wildflowers. Lambert made this painting of the flowers of the ANZAC Cove area in late February 1919. He gathered a bunch of wild flowers on 27 February in case further rain prevented him from painting up at the Nek. His bunch consisted mainly of euphorbias and anemones with sprays of grasses and soft grey succulents. With two days of rain he finished the work on 1 March and wrote: “The flower piece is finished … The flowers are in a biscuit tin sitting on top of a bed for a tent pole. The work is up to standard.” All of these species are still thriving on the peninsula but overall the landscape is much changed from when Lambert saw it. Nature has repaired much of the damage caused in 1915; the lines of trenches are softened and parts of the heights are eroding and crumbling. Importantly, the flora of the area has changed significantly since 1919. Introduced trees have been planted as part of an afforestation program and a massive fire in 1994 has caused substantial regeneration of particular species over others.

The area is now managed as part of the Gallipoli Peninsula Peace Park and covers 33,000 hectares (330 square kilometres). The park is included on the United Nations list of National Parks and Protected Areas.

A force of nearly 5,000 from the Turkish Maan garrison was encountered by elements of the 5th Australian Light Horse Regiment at Ziza on 29 September 1918. This dramatic painting, Ziza by H. Septimus Power, depicts the unique event where members the Australian Light Horse for one night shared food and fire with soldiers of the Turkish Army and joined forces with the Turks against Arabs from the Beni Sakhr tribes.

H Septimus Power’s Ziza 1935 oil on canvas

The extraordinary event at Ziza occurred towards the end of Major General Chaytor’s successful campaign east of the Jordan. The Maan garrison was hopelessly cut off and had been fleeing northwards to Amman. On the morning of the 29 September 1918, their hasty defensive position at Ziza station was contacted by two squadrons of the 5th Light Horse Regiment under Lieutenant Colonel Donald Cameron. Thousands of Beni Sakhr tribesmen had gathered in the hills surrounding the Turkish Garrison, threatening to strike against them. The Turkish commander wanted to surrender but was unwilling to lay down their arms to the small Australian force since that might mean their annihilation by the Arabs. General Chaytor himself came forward late in the afternoon to consult with Cameron about the situation and decided that the Turks should remain in their trenches and keep their arms until stronger reinforcements arrived the following morning. The 7th Light Horse Regiment assisted in the defence of the position overnight and this unlikely coupling of Turkish and Australian troops stood guard until daylight. By the next morning the New Zealand Mounted Rifle Brigade had arrived and it was safe to disarm the Turks and formally take them prisoner.

The original official surrender document, signed by “Ottoman Company Commander at Djezir, Ali Housain,” Commander of the Ziza Garrison, ceding troops, guns and other stores to the Australian Forces, is held at the Australian War Memorial and will be on display in the exhibition.

A detailed narrative account of the surrender at Ziza written by Donald Cameron can be read in the appendices of the war diaries for the 5th Australian Light Horse here. Cameron notes in the war diary that the Turkish forces, although having great superiority of numbers, were terrified of the Bedouins and seemed “worn out”.

Further reading:

Damien Fenton, ‘Standoff at Ziza’ Wartime, 2003, Issue 24. View PDF file here.

H S Gullett, The Australian Imperial Force in Sinai and Palestine, 1914–1918 Volume VII – (10th edition, 1941). Chapter 42, pp 724-727.

Jeremy Wilson will be coming out to Canberra for the opening of our exhibition, with support from the British High Commission in Canberra. He will give a public talk in our Telstra Theatre on Sunday, 9 December 2007. Jeremy who wrote Lawrence of Arabia – the Authorised Biography (1989) is recognised as the world’s leading scholar on Lawrence. He also wrote the catalogue for the 1988 National Portrait Gallery exhibition in London which marked the centenary of Lawrence’s birth. The catalogue has proved extremely useful for our own research into Lawrence.

Jeremy’s lecture will focus on Lawrence’s role in the capture of Akaba on 6 July 1917. Akaba became an important Red Sea base from which Lawrence and the Arab Revolt were able to launch attacks against the northern sections of the Hejaz Railway. Jeremy believes that Lawrence had a hand in the use of aerial photography to produce this map of Akaba that he identified in the Memorial’s collection. More details will follow closer to the event.

Mal

These four basic maps are from Bean’s Official History (Vol. IV) and are just a quick and handy reference for anyone reading about the four battles featured on this blog.  Soon we hope to also feature some really great-looking original 1917 AIF maps, some of which will appear in the exhibition.

Map: Bapaume to Bullecourt from the Official History Vol IV, p 156

Map: Bullecourt from the Official History Vol IV, p 310

Map: Messines from the Official History Vol IV, p 610

Map: Ypres to Passchendaele from the Official History Vol IV, p 740

Original maps and aerial photos

Another great source of detailed maps and aerial photos are the war diaries of the various units.  These original historical documents may appear as hand-drawn sketch maps or printed maps or photos with numerous hand-written annotations.  They may be found scattered throughout a war diary, but in most cases they tend to be appendices toward the end of each monthly diary.  The good news is that now we are digitising this material and putting it online (for free), it’s easier than ever to find these fascinating maps and photos and zoom right in on them.  At present the corps and divisional war diaries are ready for viewing online, but now (July 2007) the first three infantry brigade diaries have also been done, with the others to follow, then the infantry battalions.  Check what’s available online at www.awm.gov.au/diaries/ww1/index.asp

The intrepid Simpson Prize group have now returned to Australia after a very successful tour to Turkey. The final days of the trip were spent in Istanbul visiting the Dolmabache Palace, followed by a shopping frenzy in the Spice Market and the Grand Bazaar. Purchases varied from the predictable (Turkish Delight) to the exotic (belly dancing outfit) and many in the group launched into the spirit of haggling with great enthusiasm. On our last night we shared the farewell dinner with the Memorial’s battlefield tour group, giving us the opportunity to formally thank our fabulous Turkish guide Guzin Sapmaz and bus driver Mehmet
Overall, the trip was a very successful one for the students and teachers. The tour brought together a diverse group of young Australians to share a common experience that I’m sure will stay with them for the rest of their lives. If previous Simpson Prize winners are a guide, this year’s group will continue to participate in commemorative activities and help others understand the enduring impact of the Gallipoli campaign on Australia and Turkey.

Andrew Gray
Simpson Prize Tour Guide
Australian War Memorial

With all the work the conservation team – David, Ilaria, Sharon, Gajendra and Sophie - have done on the Lamberts for the exhibition, lots of new things have emerged - and the backs of the images are a goldmine for information. We’ve uncovered other paintings, unfinished sketches and interesting old labels. All of this adds to our understanding of George Lambert and how he worked.

The ‘Double trouble’ post revealed the story of uncovering the back of one painting to find another – The top of the Taurus Ranges. On the back of The Nek, Walker’s Ridge, site of the charge of the light horse is a study of a horse and pack mule in Rest Gully at Gallipoli (now framed so that is visible). During his stay at Gallipoli in 1919, Lambert was assisted by soldiers assigned to help him. On this occasion he was accompanied by someone he termed a ‘Dinkum’ Aussie’ who carried the painting gear, and odd bits of salvage on a pack-mule. Lambert rode what he described as “a very ugly plug, a small draught horse which, though unspeakably plain, is useful and has a fondness for the mule. The mule breaks away every fifteen minutes or so when we camp for painting and the Dinkum shows the stuff he is made of by sliding down the side of the precipice and catching her, tethering her by some special stunt … then he climbs laboriously back to me and by the time he reaches my summit she is off again; quite a good circus for a grey day … one afternoon I varied the programme by doing a sketch of the little gully, called Rest Gully, where the 5th Field Ambulance, from Sydney, and commanded by Dr. Roth, was camped during the occupation. With the horse and mule in the foreground it made a decent sketch”. (1) 

On the verso of Jebel Saba, near Nalin is Walad Camp follower, an oil sketch of an Arab boy. It’s a fairly simple study with lots of the background quickly dashed in. There is one brief reference to this work in a list of paintings consigned by Lambert from Palestine to London in May 1918 where he says that on the back of Jebel Saba, near Nalin “there is a study of a Walad Camp Follower.” ‘Walad’ is Arabic for ‘boy’ and a short entry in the publication Australia in Palestine noted: “You occasionally find Arab boys travelling with the Light Horse, keen little beggars who act as cooks’ offsiders and batmen’s batmen, and officers smile and sympathetically shut their eyes to it.” (2) We don’t know as yet where Lambert painted this portrait and can’t assume that just because it’s on the back of the Nalin work that it was painted around there. All the backs of the Lambert oil on cardboard and wood panel sketches were sealed with varnish or shellac to prevent the wood from warping or splitting. This is what causes the dark and light bands across the image of the boy (above).

1. Thirty Years of an Artist’s Life, by Amy Lambert, Sydney 1938, pp. 104-05.

2. Australia in Palestine, Sydney 1919, p.118.

We have now left Turkey and gone on our own different ways. Some are off to the Western Front Battlefield Tour, some are returning home and others (like myself) are continuing with other travelling.

There are more images and information to pass on. For example I have a number of images that I have taken to show how the battlefields have changed with “then and now” collections. There are also more images from ANZAC Day and the last days we had in Istanbul. But these will have to wait until I return to Australia later this week. Until then please send me any comments or photo requests. I will follow up these requests on my return.

The big day. We start at 1:30am from the Kum Hotel by bus and drive to ANZAC Cove. From there we have the short walk to the dawn service area. This is done early so that we miss the crowds and get some seating. While waiting for the service to begin we see some documentaries and information about some of the ANZACs that died in the campaign.

After the service we have a long walk up Artillery Road to Lone Pine. Some who require it are shuttled there by bus. This is the site of the Australian service. The wait from 7:30am, when most of us arrive, until the services start at 10:30am is made to feel shorter by a commentator who keeps the information about what is going to happen light hearted.

At the end of the formal proceedings there is time for the public to lay wreaths and a number of people in the group take the time to do this.

At the end of the Lone Pine service we head back down the Artillery Road where our bus is waiting to take us back to the Hotel. All this is over by about 12:30. The afternoon has a walk with Kenan for those with some energy left over – most have a sleep.