1918 (January 13^th)

Born Hobart, Tasmania, Australia, Geoffrey was the third child and second son to, John Farnsworth St Aubyn Powell, and Esmerelda Powell, nee White.

Powell was conceived after his older sister was tragically killed in a street accident involving a wool dray, Murray Street, Hobart.

Powell was born into a sheltered middle class upbringing within Hobart's Masonic establishment. [i]

Primary school education was undertaken at the exclusive Hutchins School, Hobart, Albury Grammar, Victoria and later Melbourne Grammar. [ii]

1924 aged 6

After the death of John Farnsworth St Aubyn Powell, the family moved to Victoria.

1928 aged 10

Esmeralda Powell, with youngest son Geoff, eventually settled at Cremorne on Sydney's north shore. [iii]

1932 aged 14

Powell completed his intermediate certificate from, North Sydney Intermediate Boys High, as an average student but with good scores in mathematics. [iv]

It was at North Sydney Intermediate that Powell first met, future noted Sydney commercial photographer, Lawrence le Guay. [v]

1933 aged 15

Powell took a yacht trip to Lord Howe Island. It was an experience which galvanised his desire to enter the merchant marine.

1934 aged 16

Powell embarked on his intended career and began working as a deck-boy, on the Howard Smith freighters 'SS Time' and then 'Macedon'.

1935 aged 17

Powell applied for an apprenticeship with the Elleman and Bucknell Line's, 'City of Canberra' and is all but accepted. It seemed his aspiration to become a ship's captain was assured. Unfortunately, Powell failed the last required test. He was found to be colour-blind.

Powell then gained a position at Penney's Buying Department, Sydney, the warehouse subsidiary of shipping firm, Burns Philp. [vi]

1936 aged 18

At Lawrence le Guay's suggestion, Powell purchased his first camera, a 120 format TLR, Voigtlþnder Brilliant, with money borrowed from his mother.

Powell followed Lawrence le Guay's lead and joined the Photographic Society of New South Wales. The Society introduced Powell to many of Australia's foremost practitioners of the photographic medium.

1936 (c May)

Powell gained employment as a junior studio assistant with the Russel Roberts Studio, Sydney.

Participated in the 'Modern Photography Exhibition', held at The Exhibition Hall, George Street, Sydney.

PowellÕs image 'Pattern' (1936) was included in the 'City Exhibition' of international works London Salon. [vii]

In addition to the drudge of his basic duties at Russel Roberts, Powell pursued an interest in radio-plays through the Australian Broadcasting Commission, Sydney. This is an activity to which Powell returned throughout his life.

1937 aged 19

Powell moved over to the Max Dupain Studio, in Bond Street, Sydney, where he was given practical training and some minor photographic duties. [viii]

 'Untitled' Portrait of a Woman, tow decorative buttons on dress (1938): Powell Collection NGA, Canberra; Accn No NGA 89.1291

 'Discussion' Max Dupain and George Hoyningen-Huene (1938). Powell Collection NGA, Canberra; Accn No NGA 84.1852 and Accn No NGA 89.2192

Influenced by Dupain's interest in surrealist photography, Powell also began to experiment with photomontage. [ix]

1938 (June)

Powell photographed famous WWI (German Imperial Navy) personality, Graf Felix von Luckner, commander of Der Seeteufel which was at anchor in Sydney Harbour. Von Luckner was officially engaged on a goodwill voyage, but the visit to Australia was suspected as a Nazi intelligence-gathering mission. [x] Powell befriended junior members of the crew and anticipated an invitation to join the Seeteuful for the home leg to Europe. [xi]

Powell Geoffrey, ÔCount Felix von LucknerÕ, Ure Smith, Sydney, ed., The Home, John Fairfax and Sons, Sydney, July 1, 1938, pp. 60-61 and p. 21

1938 (August 13) aged 20

On the basis of the false expectation of joining the crew on board Seeteufel the rash Powell resigned his position at DupainÕs Studio. [xii] This was later taken up by Damien Parer, in October.

1938 (September)

Powell met up with the Seeteufel in Cairns, North Queensland, and stowed away in the ships lifeboat. He was soon discovered and put off at the next Australian port, Thursday Island. Powell returned to Cairns by stowing away on the local steamer 'Taiping', September 25^th.

Powell, Geoffrey, 'I stowed Away with Count von Luckner', Pertinent, November, 1940, pp. 5-9

1938 (c October)

The local Leica dealer, an Italian-Australian fascist sympathiser, temporarily took Powell on as an assistant to his small format portrait studio. It is not known if Powell made any photographs at this time. [xiii]

Moreover, Powell needed a better income to finance his return home to Sydney. [xiv]

1938 (c November)

Powell then obtained casual work on Gunnewarra Station, in the Mt Garnet region of North Queensland. The area was suffering under a prolonged draught and Powell was employed at a station out-post, Cashmere, bailing well water into a dinking trough for stock.

Powell Geoffrey, 'Cattle Country' photo's by Herbert Fishwick, Ure-Smith, Spencer, eds., Australia National Journal, Sydney Ure Smith, Sydney, March 1^st, 1942, pp. 57-59

Powell made a small number of images while working on the Cashmere outpost of Gunnewarra. Apart from a couple of self-portraits, this photography was largely unsuccessful and none was published.

'Bailing Water' (1938), Powell Collection: National Gallery of Australia; Accn No NGA, 84.1865

1938 (late December)

Having now earned the £8 train fare, Powell immediately embarked for Sydney. [xv]

1939 (January 12^th) aged 21

Powell arrived back in Sydney just in time to celebrate his 21^st birthday.

Through his association with Count von Luckner and the Seeteufel, Powell is said to have adopted vocal pro-Nazi sympathies and consequently became ostracised from the respectable Sydney photographic scene. [xvi]

'He talks quite openly against all British interest and professes to have NAZI sympathies.' Police Informant Report, 12 June 1940

Powell, Geoffrey, 'I believe that my association with von Luckner has jeopardised my position as a photographer in Sydney and also in other ways.' [xvii]

1939 (May)

Powell photographed the American flagged schooner, Henrietta, in Sydney.

ÔLooking Down The Mast', Daily Telegraph, Sydney, May 1, 1939

In ill conceived act that mirrored his previous Seeteufel misadventure, Powell followed the Henrietta to Brisbane in the vain hope gaining a crews berth. Unable to afford the price of working passage, Powell had hoped to be included by producing free publicity for the ship.

Schooner Henrietta was film boat in 'Captain Courageous', Telegraph, Brisbane, May 1939; and 'Sailing around the world, Courier Mail, Brisbane, May 1939

Powell stayed on in the city of Brisbane for a number of months. Penniless he made attempts to sell his photographic skills with limited success. [xviii]

Red Comb Bulletin, Poultry Farmers' Co-operative Society, Brisbane, No. 134, (July 1939) and No. 135, (August 1939)

ÔMiss Elaine Hamill, radio and film player' Teleradio, Brisbane, July 1 1939, p.29

Teleradio, section 1: Home Interests, Brisbane, July 8, 1939, p. 5

Teleradio, section 1: Home Interests, Brisbane, July 22, 1939, p. 22

As Powell was financially constrained he produced but a handful of images outside the few paid commissions cited above. The most notable personal photographs are the two exposures made of BrisbaneÕs iconic Story Bridge, as it was under construction and also a portrait of a friend slumped over a silky oak table. [xix]

Any hope Powell had of making a go of it within the Brisbane scene were in trouble, after an incident which saw him was ejected from the office of a Jewish newspaper editor. War had recently broken out and the hapless Powell naively attempted to submit an article sympathetic to Nazi Germany. [xx]

1940 (c Jan)

Powell returned to Sydney, but produced very little work and is for all practical purposes remained unemployed.

Powell, Geoffrey, 'Vertigo in Sydney', Sydney Ure Smith, ed., The Home, John Fairfax and Sons, Sydney, (March 1, 1939), pp. 26-57

Powell also continued his earlier interest in radio-features.

Colin G. Moore, Powell, G.B., Application for the registration of copyright in a dramatic work, 'The Fifth Collum', (28 June 1940): National Archives of Australia, Canberra

1940 (c April) aged 22

Through the aid of friends, Powell attempted to restart photographic work using studio facilities managed by Graham (Dick) Kentwell, 26 Hunter Street, Sydney.

The business conducted from these shared premises later became more formally known under the name, 'The Geoffrey Powell Studio.' [xxi]

'Reg Johnston', Wireless Weekly, cover, 28 June 1941

'soldier and girlfriend', Woman, cover, 20 October, 1941

'untitled' women holding a magazine, (1941) Powell Collection NGA, Canberra, Accn No NGA 89.2189

'untitledÕ' women wearing long floral dress, (1941) Powell Collection NGA, Canberra, Accn No NGA 89.2288

Having ready access to studio resources Powell was able to demonstrate his abilities as a commercial photographer. However, the harsh reality was that The Geoffrey Powell Studio was not a viable enterprise and the work generated was not sufficient to properly support him. Over its operational life till late 1942, PowellÕs studio only exposed a little over one hundred sheets of film which is ample indication as to its low productivity. [xxii]

1941 (August 18th) aged 23

Powell was drafted into the AMF (Australian Military Force) service, Broadmeadows, NSW (N12302)

1942 (9^th May)

The steady income provided through compulsory Militia duties, gave Powell the financial security needed to marry his 1^st wife and childhood sweetheart, Sheila Croudance. Three daughters follow from the marriage. [xxiii]

1942 (June 30^th)

Powell makes the rank of Sargent; 2 Bomb Disposal Coy

A portrait of Powell in uniform, sporting his three strips is held in the private collection of the Miller family, Sydney.

1942 (October 20^th)

Powell eventually enlisted in the AIF, (Australian Imperial Force) as an ordinary soldier, Liverpool, NSW (NX 126352)

After enlisting Powell ceased his photographic activities.

Importantly, during the war years, Powell did not emulate many of his colleagues by working as a photographer in the military. Nor was he engaged by a government ministry as a photographer.

1943 (September 9^th) aged 25

Applied for commission as Lieutenant. [xxiv]

1943 (March 18^th)

Transferred to Bomb Disposal Engineers, RAE, from NSW, L of C Area Works, RAE, Victoria Barracks, as instructor 1 Aust Tactical School

1943 (October 1^st)

Served with, 5 Aust. Bomb Disposal Section, Atherton Tablelands, North Qld, and then transferred to Wagga Wagga, NSW, where he edited the camp newspaper. [xxv]

1944 (July 28^th)

Relieved of active duty and placed on the Reserve of Officers RAE. [xxvi]

1944 (August) aged 26

Powell sought and obtained a release from army service in order to join the staff at Consolidated Press, Sydney. Under picture editor Bill Brindle, Powell was assigned as a junior to photographer to the Daily Telegraph and Sunday Telegraph newspapers. [xxvii]

1944 (c October)

During an industrial dispute, Powell worked on the Australia Journalist Association (AJA) strike paper News, published via the Australian Communist Party's, Newsletter Printery. [xxviii]

1944 (December)

In late 1944, Brindle entrusted Powell with a prestigious assignment for The Australian Women's Weekly magazine. This took Powell to Canberra to cover the arrival of the new Governor General. [xxix]

1945 (April)

Powell had enjoyed his earlier experiences working on the AJA strike paper News, which had introduced him to the Australian Communism. This inspired Powell to take on two 'foreign jobs' for the official communist newspaper Tribune, Sydney.

'full page NTL spread', Chandler, H.B., ed., Tribune, Sydney, Australian Communist Party, Sydney, New Series No. 107 (Thurs April 26, 1945), p. 4;

 'Victory May Day', ibid., New Series No. 107 (Thurs May 10, 1945), p. 9

At around this time Powell also joined the Mosman Branch of the Australian Communist Party (ACP). [xxx] He maintained leftwing views throughout the rest of his life.

1945 (May 18^th) aged 27

Powell resigned to from Consolidated Press to work for Tribune as its official in-house photographer.

'GEOFFREY POWELL, who was with the Sydney 'Daily Telegraph' then got a job as a photographer with the Tribune, claiming that he wanted to leave the capitalist press, and do honest workÉ' [xxxi]

Working from Marx House in George Street, Sydney, Powell was directly responsible to Chief Editor, H.B Chandler and News Editor, Rupert Lockwood. Powell's leftwing news assignment and human interest photography appears throughout the following Tribune issues, credited with the by-line 'Tribune-Photo'.

'CCC Art Exhibition', Chandler, H.B., ed., Tribune, Sydney, Australian Communist Party, Sydney, New Series No. 118 (June, 5, 1945), p. 5, to New Series, No. 211 (May 7 1946)

It is at around this time Powell was commissioned to produce a small concept series of promotional photographic illustrations for the Communist Party, Sydney branch congress. The series included, 'Families Awaiting Eviction', 'Truants', 'Delegates to a Political Conference' and 'Making a Speech'. Powell, who had retained the negatives for three of these images, later submitted them for publication in the mainstream press. [xxxii] It is just these few examples of Powell's leftwing social conscious photography that were published outside the obscurity of Communist Party journals, and thereby gained an enhanced exposure to a wider audience. In particular, 'Families Awaiting Eviction' renamed 'Family Group' was well received as an example of the new genre of documentary. [xxxiii] Thereafter, 'Family Group' became the one and only image through which the photographer is recognised.

1945

Powell became actively involved in the newly established, Sydney Film Society, a Communist Front organisation, where he met filmmaker, John Heyer. This friendship led to Powell's later interest and work in filmmaking.

1945 (August/September)

Powell fell out with key figures in the Communist Party hierarchy, who considered him a security risk after he had apparently admitted to working as security police informant. It seems the Communist Party tolerated this with the hope of converting Powell to a 'double agent'. [xxxiv]

For a period thereafter, in addition to his duties at Tribune, Powell began to take on a limited amount of outside freelance work.

Ure-Smith, Spencer, eds, Australia National Journal, Sydney Ure Smith, issues (August Ð October, 1945)

1945 (c. September-November)

Powell also worked on the Waterside Workers Federation documentary film, 'Indonesia Calling'. This controversial film, released in 1946, was directed by Dutch East Indies filmmaker Joris Ivens. It is during the making of ÔIndonesia CallingÕ that Powell was introduced to fellow photographer/filmmakers, Edward Cranstone and Alex Poignant. [xxxv]

1945 (October)

Through a leftwing contact, John Oldham, Powell was commissioned to produce 30 negatives and prints for the Department of Post-War Reconstruction, 'ServicemenÕs Re-establishment Exhibition', also known as the ÔReturn to Civil LifeÕ series. [xxxvi]

Department of Post-War Reconstruction, Public Relations Division, purchase order 45/46-71, September 27, 1945

ÔReturn to Civil LifeÕ series, nine silver-gelatine prints; Powell Collection: National Gallery of Australia, Accn Nos NGA 84.1654 through 84.1662

1946 (March 22^nd) aged 28

At the encouragement of John Heyer, Powell left the Tribune to take up employment as a cinematographer, Grade 1, with the News and Information Bureau, Department of Information, Film Unit. [xxxvii] Powell worked from the film unitÕs facilities at Burwood, Sydney.

Films worked on;

Journey of a Nation (1947)

Born in the Sun (1947)

Turn the Soil (1948)

The Cane Cutters (1948)

The Lighthouse Keeper (1949)

Orchard to the Can (not released)

1946 (November)

Powell who had ostensibly give up an active pursuit of photography, contributed the 'Photography-A Social Weapon' article illustrated with his ÒFamily GroupÓ image to the inaugural issue of the photographic industry journal Contemporary Photography.

Powell, Geoffrey, 'Photography Ð A Social Weapon', Le Guay, Lawrence, ed., Contemporary Photography, Vol. 1 No. 1, November Ð December, (1946), pp. 16-17 and 60

1947 (c February) aged 29

While employed fulltime as a cinematographer with the Department of Information, Powell dusted off his Rolleiflex camera to covertly provided stills photographs of the Miners' Federation, a communist labour union. To support of their industrial campaign for improved amenities at Australian coalmining communities and pits, the Federation engaged local photographers, such as Powell, to document aspects of the badly rundown industry.

Ross, Edgar, ed. Common Cause, Miner's Federation of Australia, Sydney, Vol. XII No. 8 (March 1, 1947), to Vol. XIII No 32 (August 21, 1948)

Ross, Edgar, ed., How To Get More Coal, Miners' Federation of Australia, (October 1947) pp. 1, 5, 7, 9-13, 16-19, 25, 29 and cover art montage

The Amenities Campaign was the only substantial documentary project Powell undertook and the last serious photography he produced in Australia. Hiss participation in, and contribution to, the Amenities Campaign remained latent until the unveiling of his scrapbooks by the NGA, Canberra, 1990. The greater significance of this previously unknown project was only later reviewed through this research.

1948 (June)

Powell submitted three images, from the 1945 Communist Party congress series, to the Australian Photography 1947 competition, and was awarded one of seven bronze plaques on offer, for ÒFamily GroupÓ. [xxxviii]

Australian Photography 1947 bronze plaque, Powell estate, Brisbane

1950 (January 25^th) aged 32

Powell reigned from the Film Division at Burwood, to join John Heyer's, Australian, Shell Film Unit. [xxxix]

Films worked on;

Rankin Springs is West (1952)

Shellubrication (1952)

1952

Powell left the Shell film Unit, and embarked on a venture that produced prefabricated houses in SydneyÕs northern beach suburbs.

The venture was however, cut short. Moreover, Powell also suffered from a chronic back condition which required a vertebrae fusel operation, preventing further physical labour. [xl]

1953

Unable to do active work of any kind, Powell wrote freelance articles for the Sydney Morning Herald, illustrated by renowned black-and-white artist, Clem Searle. Powell also supplemented this work by writing radio-play scrips for the ABC, Sydney. [xli]

1954 (April) aged 36

Powell then embarked on a fulltime career in Radio with 2RE, Taree, NSW. There he was primarily employed in sales but also undertook temporary announcing duties.

1954 (December)

Powell's name was found in documents carried by defecting Soviet MVD agent, Petrov.

Lockwood, Rupert, Petrov Royal Commission Documents, J 26 and J37 (c.1945-46)

Sadovnikov, Royal Commission Documents, Document G5 (c1947)

After being interviewed by ASIO, Powell was summonsed to appear as a witness before the Sydney hearings of the Royal Commission on Espionage, better known as the 'Petrov Commission'.

Commonwealth of Australia, Royal Commission on Espionage, Report of the Royal Commission on Espionage, (August 1955), pp. 238-9 and 405

It is from this time that Powell claims not to have formally worked for the Communist paper Tribune, rather only contributing photographic material as a freelance basis. [xlii]

1955 (c April)

Powell moved to Brisbane to work with commercial radio station 4KQ. While announcing at 4KQ, Powell also moonlighted for Brisbane ABC radio, producing radio-plays.

1955 (December 4^th)

Powell commenced duties as a temporary announcer ABC Radio 4QR, Brisbane.

1956 (October 15^th)

Powell transferred to ABC Television, Sydney, and was employed as a studio supervisor. He later switched to producing features material for the national broadcaster. [xliii]

1960 (February 13^th)

Powell left Sydney to work on an extended overseas assignment for ABC Television. Via this project Powell embarked on his first trip abroad, visiting the Philippines, Hong Kong and Macao

1961 (April 9^th)

Powell returned to Sydney, from the ABC, South East Asia assignment.

1962 (January)

Powell went back to South East Asia, this time on his own accord. Permanently settling in Macao, he effectively abandoned his life in Australia. Initially Powell attempted to support himself by introducing poker machines to Chinese gamblers, but unsuccessfully. [xliv]

1963 (October-November)

Powell, for a short period resurrected his radio career, announcing the breakfast session with Radio Hong Kong His services were prematurely cancelled, ostensibly on account of his Australian accent. [xlv]

1964 (March)

Powell expected to manage a new radio station in Macao. This however, never eventuated.

Over this period Powell earned income from producing foreign interest film material for the ABC, in Australia

1964

Powell eventually established himself in a tourism promotion business working on behalf of the Portuguese island colony of Macao. Part of his commission was to provide promotional material for the Macao Grand Prix.

It is at this time that Powell again took up the pursuit of photography. Over the next few years he produced an extended photo-essay of Macao and Hong Kong. This material was a personal project and only a small portion of it was ever printed beyond small lab proofs. [xlvi]

1970 aged 52

Powell meets Macao girl, 'Winnie', and fathered son Warwick.

1971

Powell lost the Macao contract and wound up his tourism promotion business and relocated to Bangkok, Thailand, where he again worked in Radio [xlvii]

Powell had by now ceased all serious work in photography. From then Powell on only used his cameras to make occasional family snaps. [xlviii]

1974

Powell returned to the British Colony of Hong Kong, presenting English language Òphone-in-radioÓ for station Radio Hong Kong.

1976 aged 58

Powell came back to Australia to work for Melbourne radio station 3AW. [xlix]

1977

Powell retired to the NSW countryside [l]

1980

Powell came out of retirement and through his 'Powell Line' programme, introduced the talkback radio format to the Australian Broadcasting Commission, at 4QR Brisbane. The controversial programme ran for about a year before being cut.

1981

PowellÕs photography and motion film work from the 1940s had long been forgotten. Noted photo-historian, Charles Merewether, was the first researcher to investigate PowellÕs photography. [li] However, Powell was not included in the subsequent 'Art and Social Commitment' exhibition [lii]

1984

Through curators, Ian North and Martyn Jolly, the National Gallery of Australia, at Canberra, (NGA) began researching and collecting examples of Powell's photography. [liii]

This was followed by research into Powell's documentary film work, Griffith University academic, Albert Moran. [liv]

On the back of this interest from the academic community, Powell began to write his memoirs, Worms in a Tin. The text assumes a personalised account of the trials and tribulations of his extraordinary life. It is, by and large, a forum where Powell puts his side of the story regarding events sounding his tumultuous film and radio careers. However, portions of the text do encompass PowellÕs photographic practice. These sections provide a valuable insight into Sydney's photographic scene of the 1930s from the perspective of a young photographer. [lv]

1988

Powell was included in the 'Shades of Light', exhibition curated by Gael Newton, of the NGA. [lvi]

1989

Helen Ennis, then curator of photography at the NGA, followed up on that institutions previous interest in Powell.

1989 (September 16^th) aged 71

Powell unexpectedly suffered a fatal heart attack, Brisbane, Australia. [lvii]

1991

Helen Ennis, senior lecturer at the Australian National University, was the first researcher to substantively address the photographic oeuvre of Geoffrey Powell. 'A quest for Geoffrey Powell' concentrates on Powell's photographic work via a constrained art-historical perspective. [lviii]

2001 (February)

The author was made aware of the existence of Powell's negatives. While the contents of Powell's negative collection is heavily fractured and therefore not a particularly significant resource, its discovery became the catalyst for new research into Powell's photography.

Smith, Craig, and O'Rourke, Caroline, The Geoffrey Powell Archive negative collection: Initial Assessment Conservation Strategies Report, CAC, The Whole-Plate Camera Studio, unpublished, Brisbane, (April, 2001); NGA Geoffrey Powell File, No. 117, pp. 6-7

Hoehne, Craig, Occasionally through the viewfinder: a consideration of Geoffrey Bruce St Aubyn PowellÕs photography, research essay, (2006)

2004 (January)

Despite the limitations presented by Powell's negative collection, there was sufficient material available to show some better examples of this photographerÕs imagery made in this country. With partial financial assistance provided by an Arts Queensland grant, the author produced a mini-retrospective exhibition of 17 posthumously printed images. [lix] Printed to refect a period aesthetic, these showcased a selection of PowellÕs imagery to a modern audience serving to heighten awareness his photography. Entitled 'Reintroducing Geoffrey Powell', the exhibition was held throughout January 2004, at Gallery 482, Fortitude Valley, Brisbane. [lx]

2004 (October 29)

Generous funding from the, Mineworkers' Trust Fund, facilitated the production of a sample of Powell's 1947 Amenities Campaign documentary photography. Twenty posthumously printed images produced by the author, were made from those few negatives that Powell kept back from the original commission. [lxi]

 

All Rights Reserved

Craig Hoehne  2001 'fully revised 2005

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References