zaterdag 24 februari 2007

Tempo Doeloe : a tribute to the Dutch East Indies




Tempo Doeloe : a tribute to the Dutch East Indies.


A sentimental journey with the Willem Ruys of the Royal Rotterdam Lloyd to the Dutch East Indies : http://www.youtube.com/watch?v=iBqIEJlAecU

















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Batavia / Jakarta Tempo Doeloe : http://www.youtube.com/watch?v=-DfmkBM1Q0U.
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Typical Jakarta market scenes : http://www.youtube.com/watch?v=nAh2p8ycSLI
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The Tielman Brothers Black eyes live 1960: http://www.youtube.com/watch?v=FALutagdHNw
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People & music in Surabaya (Indonesia), Tunjungang aside of Mcdonalds, along the BasekiRahaat, to South, near the Tunjungang, Surabaya, Jawa-island, Indonesia1(Friday)/December/2006 17:11 http://www.youtube.com/watch?v=OmZhCa8Vf64







Tempo Doeloe : a tribute to the Dutch East Indies




Tempo Doeloe : a tribute to the Dutch East Indies.


A sentimental journey with the Willem Ruys of the Royal Rotterdam Lloyd to the Dutch East Indies : http://www.youtube.com/watch?v=iBqIEJlAecU

















.
.
Batavia / Jakarta Tempo Doeloe : http://www.youtube.com/watch?v=-DfmkBM1Q0U.
.
.
.
Typical Jakarta market scenes : http://www.youtube.com/watch?v=nAh2p8ycSLI
.
The Tielman Brothers Black eyes live 1960: http://www.youtube.com/watch?v=FALutagdHNw
.
People & music in Surabaya (Indonesia), Tunjungang aside of Mcdonalds, along the BasekiRahaat, to South, near the Tunjungang, Surabaya, Jawa-island, Indonesia1(Friday)/December/2006 17:11 http://www.youtube.com/watch?v=OmZhCa8Vf64







vrijdag 23 februari 2007

Martien Coppens & Martin Parr




Martien Coppens









Martien Coppens was born in 1908, son of a clog maker from Lieshout, a village a stone's throw from the town of Eindhoven. Very soon he developed a remarkable interest for photography (on one of his school reports it is mentioned that the photography could actually use a bit less attention) and follows, exceptionally, an education abroad, in Munich. After some wandering, he establishes himself as independent photographer in Eindhoven. He works on request, but has a preference for free work and for what he callls artistic photography. His photos are authentic and realistic, although the quality of his work was not appreciated by all people at that time. Martien Coppens focused his camera quite often at Brabant farmers and workers, at church buildings, and at landscapes, such as De Peel, but he was also interested in the dynamics of a city such as Eindhoven and her industrial activity. He was an enterprising man who published about seventy photo books, of which some were well accepted by the public.

Martin Parr and Gerry Badger : The Photobook: A History volume 1/ Memory and Reconstruction : The Postwar European Photobook

Martien Coppens was responsible for a number of topographical photobooks during the 1930s and 1940s, documenting the architecture, landscape and art of his native Brabant. These were in a similar vein to the Publishing house Contact's De Schoonheid van ons Land (Our beatiful Country), showing a comparable focus on the cultural heritage of Holland. As the title of Contact's series implies, the kind of photography employed was traditional, large-format, topographically precise, with an emphasis on the picturesque, on heritage and continuity rather than change.
It was this kind of rhetoric that was employed by Coppens for his 1947 book Impressies 1945 (Impressions 1945), but his subject was radically different. He still concentrated on the Dutch landscape and architectural heritage, and photographed it in his usual romantic style, but now his theme was the Dutch heritage interrupted by the discontinuities and disruption of war. He chose the lighting carefully, often a combination of sun and cloud that would allow him to set a ruin picked out by sunlight against a glowering, cloudy sky. Add luscious gravure printing, and Coppens's ruins look less like real buildings than stage sets. In all of his work, and in this book in particular, Coppens opposed the prevailing trend in Dutch photography of the time, which was progressing towards a gritty, Existensial realism, and he was criticized for it by other photographers.
Coppens, who habitually dealt in nostalgia, photographed this devastated landscape in the only way he knew, even exaggerating the romantic rhetoric of the ruin. But like Jean Cocteau and Pierre Jahan in La Mort et la statues, Coppens demonstrated that there were many different ways in which artists and photographers could come to terms with what had happened to Europe.
Martien Coppens : Monsters van de Peel http://www.youtube.com/watch?v=GRERU5nuUzE



Martien Coppens : Rond de peel http://www.youtube.com/watch?v=BwTrmnpVtk4


donderdag 8 februari 2007

Cor Jaring & Amsterdam in the Sixties


Jaring, Cor.
Dit hap-hap-happens in Amsterdam
Amsterdam, De Arbeiderspers, 1966. 8vo. Unpaged. Text by Henk J.Meijer, illustrated throughout with reproductions of Jaring's photographs of the sixties happenings in Amsterdam. Original wrappers. First edition.
AMSTERDAM IN THE SIXTIES
Happenings
It is 1964. Amsterdam. The world out there is divided in two kinds of people; the Pleiners (a nickname like squarers) – in the name of Leidseplein, at which ‘the port of call’ for writers, artists and poets Eylders pub – and the Dijkers (the ‘Dike’ men). It is a world Cor feels at home. He meets people who are different. Trendsetter and pacesetter definitely is Robert Jasper Grootveld. He is the self-pronounced Smoke Magician, known from his own proverb ‘a content smoker is no troublemaker’. He established his Smoke Temple in 1963.Cor’s newly found friends from the square and others find a kind of shelter in the shape of a small house Cor’s father makes available. Among the merry, spiritual bunch are – well known in the Netherlands – Frans de Boer Lichtveld, Johnny van Doorn (Johnny the Selfkicker) Joop Bielemans, Marijke Koger, Simon Posthuma, Betty van Garrel, and Theo Niemeyer.Cor takes his first picture of Robert Jasper Grootveld, the moment he performs as ‘anti-smoke magician’ at the statue Lieverdje (the nickname the provocative Provo people gave to the statue they respected as their icon). Cor missed the 1st Provo Happening ‘Open the Grave, but he is present at ‘Stoned in the Streets’. It is open air theatre acting we talk about. Playful, humourous, and full of phantasy. In the following years the so-called happenings changed: the emerging of Provo group and its manifestations slightly acquire a political atmosphere.
Provo
All encompassing: enveloping the whole world, including people from all walks of life. Even the rabble is to play their role as disapproving critics feeling fooled. ‘Sour faces’, who can be ‘turned’ to thinking differently through Happenings and friendly stimulants, in order to make the world a better and nicer place. One big playgarden, so to speak. There is nothing unhuman to Provo, so trendsetters and leaders emerge, such as Roel van Duyn, Rob Stolk, Peter Bronkhorst, Luud Schimmelpenninck and Hans Tuynman. Provo becomes a movement, grows and virtually bursts from the seams. The establishment beckons, and Provo represents itself in the municipal council. In order to control ‘the end’ itself, Provo was laid as foundling in the Vondelpark in the rouring infamous 60. That happened when freedom of speech was about to be organised by the establishment, wanting to set up a ‘speakers corner’.

Expertise
Expertise and know-how gained in life and absorbed at various places will never be lost. Well-known men in Amsterdam Kees Hoekert, Theo Klei and Max Reneman saw to a follow-up of Provo issues stated in the so-called Witte Plannen (White Plans) in 1968. They established the fact that ‘there are few butterflies left’, and drew up the Insect Sect. Robert Jasper Grootveld helps out again. The Butterfly Opera came about, and plans are developed to deal with the problem of dog’s droppings, and the pollution of the Amsterdam canals. Kees Hoekert built floating flotillas. The Deskundologisch Laboratorium (laboratory of expertise) was established, which took quite a number of initiatives, using the mission statement ‘everything which needs common sense and does not boggle the mind’. In short: Provo created a heritage, which formed the base for the environmental movement of later years.
Flower Power
Nobody has ever doubted is: Amsterdam is the Magic Centre (of the universe). Trendsetter Robert Jasper Grootveld promoted the image of ‘the content smoker is no troublemaker’. In the sixties the advise was taken to heart by countless so-called hippies, who ‘nestle themselves as a ‘flock of happiness seekers’ in the Magic Centre, and under the Vondelpark trees in particular. The feeling of freedom fills the air like a sweet perfume for society. The civil society picks up the idea and invents the slogan ‘tell it with flowers’ (in the typical Dutch sense of let your heart talk by giving a bunch of flowers).

Protest
Protest without violence, but centainly against violence. The anti-Vietnam campaigns are outlet of the dissatisfied men, who call Johnson a Murderer. Again it is Robert Jasper Grootveld who shows his ability to solve problems and fight poverty. He does that symbolically at the Lievertje statue by "exchanging our prosperity for sand from developing countries and provoke a multi-national moving house, as a cultural exchange avant-la-lettre". Protest without violence, but centainly against violence. The anti-Vietnam campaigns are outlet of the dissatisfied men, who call Johnson a Murderer. Again it is Robert Jasper Grootveld who shows his ability to solve problems and fight poverty. He does that symbolically at the Lievertje statue by "exchanging our prosperity for sand from developing countries and provoke a multi-national moving house, as a cultural exchange avant-la-lettre". In Amsterdam the proverbial house is on fire when building constructor Jan Weggelaar dies, not through violence as rumour has it, but because of a heart-attack. This comes out in the open later, but the damage is already done. Only briefly tracks of rage and destruction are seen in the city. The atmosphere is grim.

Squatters
It becomes more and more grim everywhere. The so-called White Housing-plan started with the ‘occupation’ of an empty cinema, which offered shelter for the plenty. Later the plan involves neglected premises of shady landlords. The Magic Centre attracts countless visitors from abroad, and the Vondelpark does not provide a starry night every night. Large building being structurally empty for speculative reasons are discovered. Squatters turn these places upside-down. It provokes other things to happen: some become aware how to get a sound thrashing. It is the way downhill from ideological squatting to ideal or common ‘living for free’. Later a bizar form emerge: that of the organised anti-squatter occupation of houses. It is 1964. Amsterdam. The world out there is divided in two kinds of people; the Pleiners (a nickname like squarers) – in the name of Leidseplein, at which ‘the port of call’ for writers, artists and poets Eylders pub – and the Dijkers (the ‘Dike’ men).

Cor Jaring & Amsterdam in the Sixties


Jaring, Cor.
Dit hap-hap-happens in Amsterdam
Amsterdam, De Arbeiderspers, 1966. 8vo. Unpaged. Text by Henk J.Meijer, illustrated throughout with reproductions of Jaring's photographs of the sixties happenings in Amsterdam. Original wrappers. First edition.
AMSTERDAM IN THE SIXTIES
Happenings
It is 1964. Amsterdam. The world out there is divided in two kinds of people; the Pleiners (a nickname like squarers) – in the name of Leidseplein, at which ‘the port of call’ for writers, artists and poets Eylders pub – and the Dijkers (the ‘Dike’ men). It is a world Cor feels at home. He meets people who are different. Trendsetter and pacesetter definitely is Robert Jasper Grootveld. He is the self-pronounced Smoke Magician, known from his own proverb ‘a content smoker is no troublemaker’. He established his Smoke Temple in 1963.Cor’s newly found friends from the square and others find a kind of shelter in the shape of a small house Cor’s father makes available. Among the merry, spiritual bunch are – well known in the Netherlands – Frans de Boer Lichtveld, Johnny van Doorn (Johnny the Selfkicker) Joop Bielemans, Marijke Koger, Simon Posthuma, Betty van Garrel, and Theo Niemeyer.Cor takes his first picture of Robert Jasper Grootveld, the moment he performs as ‘anti-smoke magician’ at the statue Lieverdje (the nickname the provocative Provo people gave to the statue they respected as their icon). Cor missed the 1st Provo Happening ‘Open the Grave, but he is present at ‘Stoned in the Streets’. It is open air theatre acting we talk about. Playful, humourous, and full of phantasy. In the following years the so-called happenings changed: the emerging of Provo group and its manifestations slightly acquire a political atmosphere.
Provo
All encompassing: enveloping the whole world, including people from all walks of life. Even the rabble is to play their role as disapproving critics feeling fooled. ‘Sour faces’, who can be ‘turned’ to thinking differently through Happenings and friendly stimulants, in order to make the world a better and nicer place. One big playgarden, so to speak. There is nothing unhuman to Provo, so trendsetters and leaders emerge, such as Roel van Duyn, Rob Stolk, Peter Bronkhorst, Luud Schimmelpenninck and Hans Tuynman. Provo becomes a movement, grows and virtually bursts from the seams. The establishment beckons, and Provo represents itself in the municipal council. In order to control ‘the end’ itself, Provo was laid as foundling in the Vondelpark in the rouring infamous 60. That happened when freedom of speech was about to be organised by the establishment, wanting to set up a ‘speakers corner’.

Expertise
Expertise and know-how gained in life and absorbed at various places will never be lost. Well-known men in Amsterdam Kees Hoekert, Theo Klei and Max Reneman saw to a follow-up of Provo issues stated in the so-called Witte Plannen (White Plans) in 1968. They established the fact that ‘there are few butterflies left’, and drew up the Insect Sect. Robert Jasper Grootveld helps out again. The Butterfly Opera came about, and plans are developed to deal with the problem of dog’s droppings, and the pollution of the Amsterdam canals. Kees Hoekert built floating flotillas. The Deskundologisch Laboratorium (laboratory of expertise) was established, which took quite a number of initiatives, using the mission statement ‘everything which needs common sense and does not boggle the mind’. In short: Provo created a heritage, which formed the base for the environmental movement of later years.
Flower Power
Nobody has ever doubted is: Amsterdam is the Magic Centre (of the universe). Trendsetter Robert Jasper Grootveld promoted the image of ‘the content smoker is no troublemaker’. In the sixties the advise was taken to heart by countless so-called hippies, who ‘nestle themselves as a ‘flock of happiness seekers’ in the Magic Centre, and under the Vondelpark trees in particular. The feeling of freedom fills the air like a sweet perfume for society. The civil society picks up the idea and invents the slogan ‘tell it with flowers’ (in the typical Dutch sense of let your heart talk by giving a bunch of flowers).

Protest
Protest without violence, but centainly against violence. The anti-Vietnam campaigns are outlet of the dissatisfied men, who call Johnson a Murderer. Again it is Robert Jasper Grootveld who shows his ability to solve problems and fight poverty. He does that symbolically at the Lievertje statue by "exchanging our prosperity for sand from developing countries and provoke a multi-national moving house, as a cultural exchange avant-la-lettre". Protest without violence, but centainly against violence. The anti-Vietnam campaigns are outlet of the dissatisfied men, who call Johnson a Murderer. Again it is Robert Jasper Grootveld who shows his ability to solve problems and fight poverty. He does that symbolically at the Lievertje statue by "exchanging our prosperity for sand from developing countries and provoke a multi-national moving house, as a cultural exchange avant-la-lettre". In Amsterdam the proverbial house is on fire when building constructor Jan Weggelaar dies, not through violence as rumour has it, but because of a heart-attack. This comes out in the open later, but the damage is already done. Only briefly tracks of rage and destruction are seen in the city. The atmosphere is grim.

Squatters
It becomes more and more grim everywhere. The so-called White Housing-plan started with the ‘occupation’ of an empty cinema, which offered shelter for the plenty. Later the plan involves neglected premises of shady landlords. The Magic Centre attracts countless visitors from abroad, and the Vondelpark does not provide a starry night every night. Large building being structurally empty for speculative reasons are discovered. Squatters turn these places upside-down. It provokes other things to happen: some become aware how to get a sound thrashing. It is the way downhill from ideological squatting to ideal or common ‘living for free’. Later a bizar form emerge: that of the organised anti-squatter occupation of houses. It is 1964. Amsterdam. The world out there is divided in two kinds of people; the Pleiners (a nickname like squarers) – in the name of Leidseplein, at which ‘the port of call’ for writers, artists and poets Eylders pub – and the Dijkers (the ‘Dike’ men).

maandag 5 februari 2007

Ed van der Elsken & Amsterdam in the Sixties


As far as the Fifties, Sixties and Seventies are concerned, Ed van der Elsken was one of the great documentary photographers. An exuberant chronicler of his times, van der Elsken's unrestrained passion for life translated into a rapacious, experimental photography. Enormously respected in his native Holland, van der Elsken is little known in Britain (certainly in comparison to American contemporaries such as William Klein or Robert Frank, with whom he is often compared), and this survey exhibition of his work in photography and film, gives the opportunity to appraise his pivotal position between pre-war street photographers such as Weegee and Brassai, and the emotive, ultra-subjectivist photography of Nan Goldin and Larry Clark, that came after him.
Ed van der Elsken moved to Paris in 1950, joining many young Dutch artists and intellectuals seeking respite from the gloomy aftermath of the war in Amsterdam. Love on the Left Bank (1956), created during this period, remains his most celebrated work and the one which secured his reputation in the early 1950s. A noir novel-in-images, it follows a circle of drifting post-war youth, young people whose lives, and ideals, have been devastated by the war. Leading a nocturnal, aimless existence punctuated by drink, drugs and sex, van der Elsken's free spirits personify the restless hedonism, and the nihilistic spirit that was to animate the French New Wave. Most memorable amongst his subjects is the gorgeous, vampiric, opium-addicted Vali Myers, a girl who didn't see daylight for three years. During this time van der Elsken was friends with Karel Appel and Cobra emigrés, as well as leading figures in the emergent Lettrist movement and the Situationist International, and found himself in a cultural milieu where the mood was at once desperately melancholic and defiantly anarchistic.
Returning to Amsterdam in 1954, van der Elsken started to experiment with colour photography, and to pioneer a cinema-vérité style of film-making (even inventing his own portable movie camera), in order to produce the most immediate, most unmediated imagery possible. The exhibition includes excerpts from several seminal films: The Infatuated Camera (1971) and A Photographer Films Amsterdam, (1982), among others. He began to travel extensively - around the world in 1959, and then regularly visited Japan, Hong Kong and Africa. He was one of the first photographers to realise that the photography book was a very specific medium with its own unique possibilities, and Sweet Life, (1966) the book which emerged from his first global tour, is still an extraordinarily innovative publication.
As the decades pass, the mood in van der Elsken's photography shifts from post-war despondency to the permissive optimism of the flowerpower era, back to a sense of tainted idealism post-Woodstock. Van der Elsken was always in one sense an outsider drawn to outsiders. Fiercely anti-capitalist, equally anti-communist, he was never an ideologue. His signature images of rebellious youth - whether Dutch rockers or Japanese 'yakuza'(gangsters) - are driven by a sense of personal identification and celebration, rather than social protest. Unusually for a documentary photographer there is rarely any pretense of neutrality or detached observation: he is always, himself, emotionally and dramatically present in his photographs. Sometimes gentle and romantic, sometimes shrill, vulgar, even obscene, van der Elsken is invariably uncompromising and direct in his approach. And never more so than Bye, (1990) his final, valedictory film which chronicles his slow decay from prostate cancer. He died on 28 December, 1990.
Kate Bush

dinsdag 23 januari 2007

Asia Maior & Photography of the Dutch East Indies


Nederlands-Indië in foto's, 1860-1940

Photography in the Dutch East Indies


The commercial photographers who started working in the Dutch East Indies from 1845 led a nomadic existence. They would set up a studio in a large town or hotel or at the home of an acquaintance, advertise in the local paper and take a photograph of anybody who had money to spare for that purpose. After a couple of weeks or months when the market had become saturated, they moved on to the next town. Among these pioneers were the two young Englishmen Walter Bentley Woodbury and James Page. From 1857 to 1908 Woodbury & Page was a leading firm in the photography sector in the Dutch East Indies.

Primarily, the commercial photographers took portraits of people, more particularly of prominent individuals. In addition, they sold topographic photos, i.e. pictures of important buildings, streets, volcanoes or agricultural enterprises. Pictures of the various population types in the colony also formed part of their repertoire. The topographic photos were chiefly sold as ‘souvenirs’.

During the last decades of the nineteenth century, the photographers’ wanderings came to an end. At that time, every large town had one or more permanently established photographers. The Surabayan photographers Onnes Kurkdjian and Herman Salzwedel and the Javan, Kassian Cephas (who worked in Yogyakarta) were famous names at the time.

The heyday of commercial photography was over by the beginning of the twentieth century and the role it played in forming an image of the Dutch East Indies diminished noticeably. There were two reasons for this. The introduction of the picture postcard brought an end to the market for topographic photos. And then, thanks to the many technical improvements, photography had essentially become the domain of amateurs: now everybody could make his or her own ‘souvenirs’.

Make a sentimental journey with the Willem Ruys of the Royal Rotterdam Lloyd to the Dutch East Indies : http://www.youtube.com/watch?v=iBqIEJlAecU

Walter B. Woodbury
From Wikipedia, the free encyclopedia

Walter Bentley Woodbury (26 June 1834 to 5 September 1885) was an inventor and pioneering British photographer. He was one of the earliest photographers in Australia and the Dutch East Indies (now part of Indonesia). He also patented numerous inventions relating to various aspects of photography, his best known innovation being the Woodburytype photomechanical process.

Early years
Walter B. Woodbury was born in Manchester, England on 26 June 1834.[1] As a student of a civil engineer in Manchester, he constructed his own camera obscuras from cigar boxes and eyeglass lenses.[2]
In 1851 Woodbury, who had already become a professional photographer, went to Australia and soon found work in the engineering department of the Melbourne waterworks. He photographed the construction of ducts and other waterworks as well as various buildings in Melbourne. He received a medal for is photography in 1854.[3]
At some point in the mid-1850s Woodbury met expatriate British photographer James Page. In 1857 the two left Melbourne and moved to Batavia (now Jakarta), Dutch East Indies, arriving 18 May 1857, and established the partnership of Woodbury & Page that same year.[4]

In Java

During most of 1858 Woodbury & Page photographed in Central and East Java, producing large views of the ruined temples near Surakarta, amongst other subjects, before 1 September of that year[5]. After their tour of Java, by 8 December 1858 Woodbury and Page had returned to Batavia[6].
In 1859 Woodbury returned to England to arrange a regular supplier of photographic materials for his photographic studio and he contracted the London firm Negretti and Zambra to market Woodbury & Page photographs in England[7].
Woodbury returned to Java in 1860 and during most of that year travelled with Page through Central and West Java along with Walter's brother, Henry James Woodbury (born 1836 – died 1873), who had arrived in Batavia in April 1859[8].
On 18 March 1861 Woodbury & Page moved to new premises, also in Batavia, and the studio was renamed Photographisch Atelier van Walter Woodbury, also known as Atelier Woodbury. The firm sold portraits, views of Java, stereographs, cameras, lenses, photographic chemicals and other photographic supplies. These premises continued to be used by the firm until 1908, when it was dissolved[9].

Return to England

In late January or early February 1863, Woodbury left Java to return to England, because of ill health.[10]
Having returned to England, Woodbury invented the Woodburytype photomechanical reproduction process, which he patented in 1864.[11] Between 1864 and 1885 Woodbury took out more than 30 patents in Britain and abroad for inventions relating to balloon photography, transparencies, sensitized films and improvements in optical lanterns and stereoscopy.[12] In addition to his inventions, Woodbury produced photographs documenting London's poor.[13]
In 1865 his Woodburytype process was bought by the Photo Relief Company, then bought by the Woodbury Permanent Photographic Printing Company and then bought by a succession of other companies in Britain and elsewhere.[14]
Walter B. Woodbury died on 5 September 1885.[15]
In his career Woodbury produced topographic, ethnographic and especially portrait photographs. He photographed in Australia, Java, Sumatra, Borneo and London.[16] Although individual photographers were rarely identified on Woodbury & Page photographs, between 1861 and 1862 Walter B. Woodbury occasionally stamped the mounts of his photographs: "Photographed by Walter Woodbury, Java".[17]

Notes
^ Anglo-American Name Authority File.
^ Auer and Auer.
^ Auer and Auer; Browne and Partnow, 676-677.
^ Merrillees, 256, 258. Bloom gives the date of their arrival in Batavia as the Fall of 1856 (Bloom, 29).
^ Merrillees, 256.
^ Merrillees, 256-257.
^ Bloom, 29.
^ Merrillees, 258,
^ Merrillees, 258-260.
^ Merrillees, 260; Ovenden, 35. Bloom gives the date of his return as 1862 (Bloom, 30), Auer and Auer give the date as 1864.
^ Ovenden, 216; Rosenblum, 198; Bloom, 30. Auer and Auer give the date 1866.
^ Auer and Auer; Browne and Partnow, 677.
^ Browne and Partnow, 677.
^ Auer and Auer.
^ Merrillees, 260.
^ Edwards, 581; Merrillees, 260; Browne and Partnow, 677.
^ Merrillees, 260

References
Anglo-American Name Authority File, s.v. "Woodbury, Walter B. (Walter Bentley), 1834-1885", LC Control Number no 2003087165. Accessed 20 May 2004.
Auer, Michèle, and Michel Auer. Encyclopédie internationale des photographes de 1839 à nos jours/Photographers Encyclopaedia International 1839 to the Present (Hermance: Editions Camera Obscura, 1985).
Bloom, John. "Woodbury and Page: Photographers of the Old Order". In Toward Independence: A Century of Indonesia Photographed (San Francisco: The Friends of Photography, 1991), 29-30.
Browne, Turner, and Elaine Partnow. Macmillan Biographical Encyclopedia of Photographic Artists & Innovators (New York: Macmillan, 1983), 676-677.
Canadian Centre for Architecture; Collections Online, s.v. "Woodbury, Walter B.". Accessed 28 September 2006.
Edwards, Gary. International Guide to Nineteenth-Century Photographers and Their Works (Boston: G.K. Hall, 1988), 581-582.
Gernsheim, Helmut. The Rise of Photography: 1850-1880: The Age of Collodion (London: Thames and Hudson Ltd., 1988), 263-264.
Leo Haks, Indonesian Art & Photography, s.v. "Woodbury & Page". Accessed 28 September 2006.
Merrillees, Scott. Batavia in Nineteenth Century Photographs (Richmond, England: Curzon Press, 2000), 256-260.
Ovenden, Richard. John Thomson (1837-1921): Photographer (Edinburgh: National Library of Scotland, The Stationary Office, 1997), 35-36, 216.
Rosenblum, Naomi. A World History of Photography (New York: Abbeville Press, 1984), 34, 197-198.
Union List of Artist Names, s.v. "Woodbury, Walter Bentley". Accessed 28 September 2006.
Retrieved from "http://en.wikipedia.org/wiki/Walter_B._Woodbury"