Your's Truly': The Creation and Consumption of Commercial Tourist Portraits
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heritage
Article
‘Your’s Truly’: The Creation and Consumption of Commercial
Tourist Portraits
Dirk H. R. Spennemann
Institute for Land, Water and Society, Charles Sturt University, P.O. Box 789, Albury, NSW 2640, Australia;
dspennemann@csu.edu.au
Abstract: There is a long history of tourists substantiating their visits to a destination through
the purchase of portraits that show them against a backdrop of the local setting. While its initial
expression in the form of paintings was confined to the social elite who could afford to commission
and sit for an artist, the advent of photography democratized the process, enabling the aspiring
middle classes to partake in the custom. While some tourists took their own photographs, the
majority relied on local photographers who offered their services in studio and open-air settings.
Smaller-sized images, such as Cartes de Visite (2.5” × 4”) and Cabinet Cards (4.5” × 6.5”), could be
enclosed with letters to family and social circles, thus providing proof of visits while the voyage
was still in progress. The development of picture postcards as a postal item in the 1890s, coupled
with the manufacture of precut photographic paper with preprinted address fields, revolutionized
tourist portraiture. Photographers could set-up outside tourist attractions, where tourists could have
their portrait taken with formulaic framing against a canonized background. Efficient production
flows meant that tourists could pick up their printed portraits, ready for mailing within an hour.
Using examples of San Marc’s Basilica in Venice (Italy), as well as Ostrich Farms in California and
Florida (U.S.A.), this paper contextualizes the production and consumption of such commercial
Citation: Spennemann, D.H.R.
tourist portraits as objects of social validation. It discusses their ability to situate the visitor in locales
‘Your’s Truly’: The Creation and
iconic of the destination, substantiating their presence and validating their experience. Given the
Consumption of Commercial Tourist
speed of production (within an hour) and their ability to be immediately mailed through the global
Portraits. Heritage 2021, 4, 3257–3287.
postal network, such images were the precursor of the modern-day ‘selfies’ posted on social media.
https://doi.org/10.3390/
heritage4040182
Keywords: image interpretation and analysis; pictorial evidence; heritage studies; historic preserva-
Academic Editor: María tion; image manipulation; postcard production; pigeons; ostrich farms; Venice; Los Angeles
Cristina Fernández-Laso
Received: 30 August 2021
Accepted: 7 October 2021 1. Introduction
Published: 12 October 2021
Ever since the advent of commercial photography, photographs have been inseparably
intertwined with the tourist experience of the places visited.
Publisher’s Note: MDPI stays neutral This paper intersects three aspects of tourist photography: the photography of tourist
with regard to jurisdictional claims in
attractions (‘destination photography’) by tourists, as well as by marketing bodies; the
published maps and institutional affil-
photography of the tourists themselves (‘tourist portraits’); and the dissemination of tourist
iations.
imagery by postcards. At present, much, if not most, of the discussion in the literature
centers on the nexus between tourism and photography, with many studies examining the
camera-enabled gaze of the tourist toward the ‘other,’ be it people or places visited [1–9].
The second area of research is the production of destination images and perpetuation
Copyright: © 2021 by the author. of clichés by marketing bodies, and the subsequent dissemination of this imagery in
Licensee MDPI, Basel, Switzerland. promotional materials and in the form of picture postcards [10–16]. Additional work has
This article is an open access article
discussed the interrelationship of this ‘official’ and sanctioned imagery with the images
distributed under the terms and
taken by the tourists in imitation or as purposeful contra-points [3].
conditions of the Creative Commons
One of the lacunae in the literature is the examination of the photography of the
Attribution (CC BY) license (https://
tourists themselves, situating themselves in the visited space. While there is a growing
creativecommons.org/licenses/by/
body of work that considers one expression of this in the digital space, in the form of
4.0/).
Heritage 2021, 4, 3257–3287. https://doi.org/10.3390/heritage4040182 https://www.mdpi.com/journal/heritage
Heritage 2021, 4 FOR PEER REVIEW 2
Heritage 2021, 4 3258
of work that considers one expression of this in the digital space, in the form of ‘selfies,’
no works
‘selfies,’ nohave
worksbeen carried
have out into
been carried outthe late-nineteenth
into and early-twentieth-century
the late-nineteenth im-
and early-twentieth-century
agery that situated the visitors against iconic aspects to the locations visited.
imagery that situated the visitors against iconic aspects to the locations visited. ThisThis paper
attempts to fill some of that gap by discussing the iconography,
iconography,creation/production,
creation/production, and
dissemination
dissemination of of such images.
images. Images
Images from
from Venice,
Venice, as well as from tourist attractions in
California, are drawn on to exemplify the discussion.
1.1. Early
1.1. Early Destination
Destination Photography
Photography
Early commercial photography
Early commercial photography saw saw the
the production
productionof oflarge
largefull-plate (203×
full-plate(203 252 mm)
× 252 mm)
images, usually
images, usually albumen
albumen prints.
prints. These
These images
images featured
featured items
items ofof interest,
interest, such
such as
as vistas,
vistas,
major buildings,
major buildings, or or significant
significantstatuary
statuaryand andother
otherworks
worksofofart.art.AsAs these
these images
images were
were in
in high demand, they were often produced by rival photographers in
high demand, they were often produced by rival photographers in a similar framing (Fig- a similar framing
(Figures
ures 1 and1 and 2).1900,
2). By By 1900,
cheapcheap personal
personal photography
photography was was
being being popularized
popularized by Kodak
by Kodak and
and other camera manufacturers, with glass plate and especially film negatives.
other camera manufacturers, with glass plate and especially film negatives. Significantly, Signifi-
cantly,
this this democratized
democratized photography,
photography, by shifting
by shifting thefrom
the gaze gaze the
from the canonized
canonized visionvision of
of local
local photographers to an individual, personalized framing. Essentially,
photographers to an individual, personalized framing. Essentially, personal photography personal photogra-
phy empowered
empowered individuals
individuals to take
to take their
their own own imagery
imagery andthus
and thuscreate
createtheir
theirown
own narrative,
narrative,
which they could readily, but selectively, disseminate
which they could readily, but selectively, disseminate via prints.via prints.
To some
To some extent,
extent, tourists
tourists would
would emulate
emulate thethe preexisting
preexisting framing,
framing, being
being informed
informed by by
imagery they had been exposed to. As noted by Crompton, the
imagery they had been exposed to. As noted by Crompton, the tourist image reflects tourist image reflects
‘the
‘the sum of beliefs, ideas, and impressions that a person has of a destination’ [14]. John
sum of beliefs, ideas, and impressions that a person has of a destination’ [14]. John Urry,
Urry, in his seminal work ‘The Tourist Gaze,’ argued that there is a ‘closed circle of
in his seminal work ‘The Tourist Gaze,’ argued that there is a ‘closed circle of representa-
representation’ where photographs taken by tourists both reflect and inform destination
tion’ where photographs taken by tourists both reflect and inform destination images [9].
images [9]. While some authors have shown that this circle of representation can manifest
While some authors have shown that this circle of representation can manifest itself more
itself more loosely [17], cum grano salis, it seems to hold true [4–8,15].
loosely [17], cum grano salis, it seems to hold true [4–8,15].
Figure 1.
Figure 1. Albumen prints of
Albumen prints of tourist
tourist attractions.
attractions. ‘Panorama
‘Panorama dal
dal loyd,’
loyd,’ full-plate
full-platealbumen
albumenprint
print(184
(184×
× 239
239 mm),
mm), photograph
photograph
by Paolo Salviati (Venice) ca. 1885 (author’s collection).
by Paolo Salviati (Venice) ca. 1885 (author’s collection).
Heritage 2021, 44 FOR PEER REVIEW
Heritage 2021, 3259
3
(A)
(B)
Figure
Figure 2.
2. Albumen
Albumenprints
printsofof
tourist attractions.
tourist (A) (A)
attractions. ‘Faciata delladella
‘Faciata Basilica di San
Basilica diMarco,’ full-plate
San Marco,’ albumen
full-plate print (195
albumen print×
250 mm),
(195 × 250photograph by Paoloby
mm), photograph Salviati
Paolo(Venice)
Salviatica. 1875; (B)
(Venice) ca.‘Chiesa
1875;San(B)Marco’
‘Chiesafull-plate
San Marco’albumen print (195
full-plate × 250 mm),
albumen print
photograph by Carlo Naya (Venice) (both author’s collection).
(195 × 250 mm), photograph by Carlo Naya (Venice) (both author’s collection).
Heritage 2021, 4 3260
More recently, particular emphasis has been placed on the ways in which tourists
photograph local people in tourist destinations [1,2], as well as the reverse gaze where
subjects photograph the tourists photographing them [18].
1.2. Early Tourist Portraits
The Grand Tour, taking in the sights, sites, and cultural experiences of France, Switzer-
land, and Germany, culminating in a prolonged stay in Italy, was a standard feature of the
education of the European elite, in particular, during the eighteenth and early nineteenth
century [19,20]. Apart from buying antiques, such as coins and pieces of marble sculptures,
as an effective proof of voyage, many travelers commissioned portraits painted by local
or international artists. Examples are ‘Goethe in the Roman Campagna’ or ‘Anna Amalia
in Naples,’ both by Tischbein [21], or the plethora of portraits by Pompeo Batoni [22] and
Rosalba Carriera [23].
While initially confined to the young men (and, to a lesser degree, young women)
of the European elite, the development of the railways coupled with the emergence of
an educated upper middle class, as well as nouveau riche entrepreneurs, the numbers of
people embarking on the Grand Tour, or reduced versions thereof, increased during the
late nineteenth century. Their demands for tourist portraiture could be met by the new
medium of photography.
Comparatively little work has been carried out, however, looking at how tourists
portray themselves in the destination settings [24]. Exceptions are Odgen’s examination of
paintings and photography at Yosemite National Park in California, where she notes the
existence of tourists posing in front of scenic attractions, effectively proving that they had
visited the sights and sites [25].
Early commercial photography of visitors at tourist locations saw the production of
large full-plate (203 × 252 mm) images, usually albumen prints. While the subjects were
mainly portraits shot in studios or views of prominent buildings or statues, there are also
portraits shot in the open air (Figures 3A and 4A). Invented in 1854, Cartes de Visite, which
became common by the 1860s, were an advancement for portraiture as a process or a
moving lens allowed to capture multiple images on the same glass-plate negative, thus
cutting down on development and printing costs. A thin paper photograph, commonly an
albumen print, was mounted on a thicker paper card of the same size as a traditional calling
card (hence, Carte de Visite), measuring usually 2.5 by 4 inches (64 × 100 mm). Personal and
family portraits were exchanged as gifts, with photographers also distributing portraits of
persons of local or national fame [26]. From the 1870s onwards, the Cartes de Visite were
gradually replaced by the larger 4.5” × 6.5” (115 × 165 mm) Cabinet Cards (Figure 3B).
Full-plate prints, Cartes de Visite, and Cabinet Cards would be purchased from professional
photographers and then mailed or handed to family and friends.
The process was both expensive and laborious, resulting in few photographs taken.
Photographers could maximize profits by selling multiple copies of full-plate prints as
generic images (presumably with the knowledge of the subject) (Figures 3A and 4A), as well
as cropped versions as cabinet cards (Figure 3B). Finally, after the development of printed
postcards, the same image could find another use as a mass-produced item (Figure 3C).
1.3. Postcard Production
Late-nineteenth and early-twentieth-century postcard production represents a rela-
tionship between the consumer and the publisher. In this paper, we are only concerned
with picture postcards using photographic images as their basis. A large body of scholar-
ship has deconstructed the imagery shown on the picture postcards, especially those of
colonial and exotic locales such as Tahiti [27,28], Senegal [29], New Caledonia [30], French
Indo-China [31], Korea [11], Arabia [32], Mexico [33], and German Micronesia [34].
Heritage 2021,
Heritage 2021, 44 FOR PEER REVIEW 3261
5
(A)
(B) (C)
Figure
Figure 3.
3.Multiple
Multipleuse
useofofa a
single image
single imageshowing
showinga pair of women
a pair posing
of women withwith
posing pigeons in front
pigeons of San
in front of Marco, Venice.
San Marco, (A)
Venice.
Full-plate (200 (200
(A) Full-plate × 250×mm) albumen
250 mm) print,print,
albumen unknown photographer,
unknown ca. 1880;
photographer, (B) cabinet
ca. 1880; card (115
(B) cabinet card×(115
165 mm;
× 165albumen print,
mm; albumen
95 × 147 mm) by photo studio E.& J. D. (Venice), mid-1880s; (C) printed postcard published by Römmler & Jonas (Dresden,
print, 95 × 147 mm) by photo studio E.& J. D. (Venice), mid-1880s; (C) printed postcard published by Römmler & Jonas
Germany), postmarked Venice 28 March 1902 (all author’s collection).
(Dresden, Germany), postmarked Venice 28 March 1902 (all author’s collection).
Heritage 2021, 4 3262
Heritage 2021, 4 FOR PEER REVIEW 6
(A) (B)
4. Multiple use of a single image showing a couple
Figure 4. couple of
of women
women posing
posing with
with pigeons
pigeons in
in front
front of
of San
San Marco,
Marco, Venice.
Venice.
(A) Full-plate (199 × 250 mm) albumen print, unknown photographer, ca. 1880; (B) printed postcard published
(A) Full-plate (199 × 250 mm) albumen print, unknown photographer, ca. 1880; (B) printed postcard published by Ferdi-
by
nando Gobbato (Venice), postmarked Venice 15 April–March 1901 (both author’s collection).
Ferdinando Gobbato (Venice), postmarked Venice 15 April–March 1901 (both author’s collection).
The image selection and framing of postcards, through through their
their stereotyping
stereotyping of of land-
land-
scapes, points of view, infrastructure,
infrastructure, and developments,
developments, convey political messages the
convey political messages to
viewer, messages the the audience
audience of of the
the time
time would
would have
have well
well understood
understood [30,35,36].
[30,35,36].
Late-nineteenth and early-twentieth-century
Late-nineteenth early-twentieth-century postcards
postcards have
have often been reproduced in
compilations with a sense of nostalgia [37–41]. Yet,
pictorial compilations Yet, these cards can be productively
productively
used as
used as historic
historic evidence
evidence(albeit
(albeitframed
framedby bythetheideological
ideologicalmindset
mindset ofofthethe photographer),
photographer), in
in particular, to interpret the spatial arrangement and appearance of
particular, to interpret the spatial arrangement and appearance of buildings, as well as thebuildings, as well
as the chronology
chronology of construction
of construction activities
activities [42]. Rogan[42]. Rogan
classified classified photographic
photographic picture cards as picture
topo-
graphical cards and differentiated between local cards and tourist cards [43]. The former [43].
cards as topographical cards and differentiated between local cards and tourist cards ‘de-
The former
picted various‘depicted
themes of various
specialthemes
interestoforspecial
immediateinterest or immediate
importance to localimportance
consumers,to local
i.e., the
consumers,of
inhabitants i.e., the inhabitants
a region, a town, orofa avillage,’
region,with
a town, or amotifs
typical village,’ with
being typical motifs
‘buildings, streets,being
mar-
‘buildings,
kets and fairs,streets,
shops, markets
or evenand fairs, shops,
the interiors or even
of shops.’ the interiors
Typical of tourist
motifs on shops.’cards,
Typical motifs
according
on tourist cards, according to Rogan, were ‘landscape views, snowy mountains,
to Rogan, were ‘landscape views, snowy mountains, waterfalls, fjords, glaciers, churches, ca- waterfalls,
fjords, glaciers,
thedrals, castles,churches,
hotels andcathedrals,
passenger castles,
ships, ashotels and
well as passenger
folkloric ships,
themes likeas well ascostumes,
national folkloric
themes like national costumes, folk dance
folk dance scenes, peasants harvesting, etc.’ [43]. scenes, peasants harvesting, etc.’ [43].
In addition, there are advertising cards, produced by proprietors of establishments,
either as custom productions or in the form of overprints of commercially produced cards,
Heritage 2021, 4 3263
In addition, there are advertising cards, produced by proprietors of establishments,
either as custom productions or in the form of overprints of commercially produced cards,
as well as promotional cards produced by travel companies [44,45]. Land sale agencies, as
well as land developers, also used postcards as a means of advertising their developments,
usually by printing advertorial text on part of the message field [44].
Not surprisingly, soon, a collecting craze for postcards developed, which followed the
craze of collecting Cartes de Visite. Specialized albums were produced, where these cards
could be stored and admired in one’s social circle without the need to handle them [46].
Corkery and Bailey argued that postcards are a good indicator of a visitor’s interest, as
the sending of a postcard image requires an active selection of the image by the tourist [12].
This certainly holds true in localities where a range of postcards are available. In their study
of two postcard series from Boston (1977 and 1990), the authors demonstrated how images,
in order to construct a meaning, are carefully selected and framed—and on occasion, edited.
In addition to variations in the same scene under different lighting conditions and viewing
angles, the newer postcard series has an increased range of subject matter to satisfy the
increasingly diverse needs and interests of the visitors [12]. Other studies have shown
overt and covert messaging in industry-sponsored cards [47,48].
This paper examines tourist postcards where the tourists themselves are the focus,
photographed in front of sites visited or taking part in theme park rides. Here, tourists
are not merely the consumers of imagery but also the subjects and actors. In essence, the
images discussed here are the late-nineteenth and early-twentieth-century precursors of
the modern-day ‘selfies.’
In order to adequately exemplify aspects of the nature and variety of the tourist
portraits, this paper is unashamedly rich in images.
1.4. Real Photo Postcards
Germany led the way in true picture postcard production, when in 1885, the German
Postal service permitted the production and mailing of picture postcards without imprinted
stamps. Other countries soon followed suit [45]. As noted earlier, by 1900, cheap personal
photography had been popularized by Kodak and other manufacturers, with glass plate
and film negatives. This empowered individuals to take their own imagery and thus create
their own narrative, which could be readily disseminated via prints enclosed in letters.
Photopaper manufacturers, Kodak included, capitalized on this trend and sold photopaper
that was not only pre-cut to postcard size but also already carried on the non-emulsion
(verso) side a partition between message and address fields and the obligatory lines for the
latter (Figure 5) [45]. Often also, a field identifying the preferred location for the postage
stamp was indicated. Early books written on amateur photography, such as Wall and
Snowden Ward [49] or Tennant [50], gave directions on how amateurs could produce
small-run real photo cards.
2. Methodology
The paper is based on a mixed-methods methodology, drawing on standard his-
toric and documentary research [51], material culture studies [52], and image interpreta-
tion [45,53]. It builds on a body of literature that uses picture postcards as artifacts and
evidence to interrogate motivations of producer, consumer, and recipient [11,25,31,33,34,39].
The primary dataset used in this study was picture postcards, and specifically, real photo
postcards produced by photographic studios and roving photographers at tourist sites.
As nineteenth- and early-twentieth-century postcards are collectible items, they are
widely offered in online auction houses such as eBay, Delcampe, and Yahoo Japan, as
well as retailers such as Amazon and Etsy. Image aggregator sites such as PicClick
(http://picclick.com) allow ready access to such images and, through this access, are
provided to the original listings that may also show the verso sides of the cards. An addi-
tional valuable tool to locate digitized images is the image matching software provided as
part of the search function of Google images (https://images.google.com).
Heritage 2021, 4 3264
Heritage 2021, 4 FOR PEER REVIEW 8
(A) (B)
(C) (D)
(E) (F)
(G) (H)
Figure
Figure 5.
5. Verso
Verso of
of preprinted
preprinted photopaper:
photopaper: (A–D)
(A–D) Italian
Italian Cards;
Cards; (E–H)
(E–H) U.S.
U.S. American
American Cards.
Cards.
Heritage 2021, 4 3265
The Venice images examined in this paper are a small subset of images extracted from
online sources and compiled in digital or physical form (purchases) by the author between
October 2017 and August 2021, while the images of Ostrich Farms were compiled between
April and August 2021. The selection of images depicted in this paper are in possession
of the author unless stated otherwise. These images were selected as they are typical
representatives of these images and because they exemplify the various points made.
3. Examples of Tourist Photography
To exemplify the underlying patterns of image production and consumption, this
paper draws on two case studies, one of international renown and significance (Venice) and
one of local or regional importance (Ostrich Farms in California). While both are examples
of tourist photography in outdoor settings, the example of the photography in Venice is
that of an organically grown custom in a public space, whereas the Californian example
is one of value (and income) adding to a designed tourist attraction. This discussion
is augmented by examples of novelty tourist photography in photographic studios that
formed amusement parks.
3.1. Example 1: Venice
The wealthy bourgeoisie and nouveau riche of the United States and the United
Kingdom would travel to Central and Southern Europe, embarking on a late-nineteenth-
century version of The Grand Tour [19,54,55]. Similar travels to Italy were mandatory for
the bourgeoisie and aspiring, educated middle classes of Germany, France, and Eastern
Europe. Among the locations that were de rigeur for the tour of Italy, Venice ranked
highest, possibly even above Rome. Apart from the canals with their gondolas or the Rialto
Bridge, one of the most stereotyped tourist impressions of Venice are the pigeons of St.
Mark’s square.
3.1.1. Context
Setting aside the contested origin of the pigeon population in Venice, it is indisputable
that until the end the Venetian Republic in 1797, the pigeons were fed publicly at St. Marc’s
at 2 pm. The incoming French government installed by Napoleon discontinued the practice.
Thereafter, it seems, the pigeons were left to their own devices, but were fed by private
citizens, later funded through formal legacy bequests [56]. By the 1860s, the daily feeding
of the pigeons had become a spectacle observed by the visitor as part of their stay in the
town [57,58].
The ‘bible’ of the educated traveler of the nineteenth century was ‘the Baedeker,’ a
series of guidebooks produced by the German publisher of the same name. The volume on
northern Italy notes the following on the origin of the pigeons:
‘A large flock of pigeons enlivens the Piazza. In accordance with an old custom, pigeons
were sent out from the vestibule of San Marco on Palm Sunday, and these nested in
the nooks and crannies of the surrounding buildings. Down to the close of the republic
they were fed at public expense, but they are now dependent on private charity. Towards
evening they perch in great numbers under the arches of Saint Mark’s.’ [59].
By 1895, when the tenth edition of the Baedeker was issued, the entry contains
additional text with a direct reference to pigeon food being offered for sale to tourists.
Moreover, there are now photographers on hand to capture the moment:
‘Grain and peas may be bought for the pigeons from various loungers in the Piazza, and
those whose ambition leans in that direction may have themselves photographed with the
pigeons clustering round them’ [60].
The visitor had morphed from the observer of a spectacle to a key actor perpetuating an
action that, by that time, had become disembodied from its original meaning. Photography
allowed this to be documented. Rather than buying commercially printed postcards, or
Heritage 2021, 4 FOR PEER REVIEW 10
Heritage 2021, 4 3266
raphy allowed this to be documented. Rather than buying commercially printed post-
cards, or mass-produced albumen prints of models feeding the pigeons, the visitors them-
selves became the
mass-produced actor and
albumen could
prints let themselves
of models feedingbethe
documented as visitors
pigeons, the such. themselves
became the actor and could let themselves be documented as such.
3.1.2. Production and Consumption of Tourist Photography in Venice
3.1.2. Production andof
The early days Consumption of Tourist
tourist photography Photography
are in Veniceprints either full-plate
defined by albumen
The early
or pasted ontodays of tourist
cabinet cardsphotography
with a preprintedare defined
frame byandalbumen
associated,prints either full-plate
pertinent text, such
oraspasted onto cabinet
‘Le piccione cards with
di S. Marco’ (thea pigeons
preprinted of frame and associated,
San Marco) (Figure 3B). pertinent
These text, such as
are quite un-
‘Le piccionewithin
common di S. Marco’ (the pigeons
the current market offorSan Marco)
historic (Figure 3B). These
photography, whichare quitetouncommon
attests the fact that
within the current
they were market for
only produced forhistoric
a small,photography,
comparatively which attests
affluent to the fact
clientele. Thisthat theysurpris-
is not were
only produced for a small, comparatively affluent clientele. This is not
ing, as the early full-plate albumen photographs of people in outdoor settings required surprising, as thean
early full-plate albumen photographs of people in outdoor settings
elaborate setup and a certain amount of preparation. Examples are of people photo- required an elaborate
setup and in
graphed a certain amount
the middle of piazza
of the preparation.
(Figure Examples
6), as well areasofstanding
people photographed
next to one of the in the
flag
middle
poles, with the main entrance to the Basilica di San Marco and its famed mosaic of the the
of the piazza (Figure 6), as well as standing next to one of the flag poles, with Last
main entrance
Judgment in to
thethe Basilica di San
background Marco
(Figure 7).and
Thisitsframing
famed mosaic
was soon of the
to Last Judgment
become in the
the standard
background (Figure
(Figures 8 and 9). 7). This framing was soon to become the standard (Figures 8 and 9).
Figure 6. Example of an outdoor portrait of a seated British woman feeding the pigeons. Full-plate
Figure 6. Example of an outdoor portrait of a seated British woman feeding the pigeons. Full-plate
albumen print (190 × 243 mm). Unknown photographer, 1880s (author’s collection).
albumen print (190 × 243 mm). Unknown photographer, 1880s (author’s collection).
Interestedindividuals
Interested individualswhowhodiddidnot
notwish
wishtotoindulge
indulgeininthethespectacle
spectacleofofhaving
havingtheir
their
photo taken in public could do so in the privacy of a studio, replete with
photo taken in public could do so in the privacy of a studio, replete with stuffed pigeons. stuffed pigeons.
Giventheir
Given their size,
size, cabinet
cabinet cards
cards could
could be readily
be readily mailed
mailed to one’s
to one’s socialsocial
circle.circle. Not surpris-
Not surprisingly,
ingly, then, on occasion, multiple copies still exist, such as in the case of
then, on occasion, multiple copies still exist, such as in the case of the studio portrait the studio portrait
of
of Beth
Beth D. Kimberly
D. Kimberly (Figure
(Figure 10), a10),
copya copy of which
of which isheld
is also also by
heldthebyJ. the
PaulJ. Getty
Paul Getty
MuseumMuseum
[61]
[61] along
along with another
with another similar
similar portraitportrait of a different
of a different youngyoung
woman woman
[62]. [62].Heritage 2021, 4 3267
Heritage 2021, 4 FOR PEER REVIEW 11
Figure7.7. Example
Figure Exampleofof
anan
outdoor portrait
outdoor of a of
portrait German couple.
a German Full-plate
couple. albumenalbumen
Full-plate print (203print
× 225
mm). Unknown photographer, 1880s (author’s collection).
(203 × 225 mm). Unknown photographer, 1880s (author’s collection).
Thedevelopment
The developmentofofpicturepicturepostcards
postcardsand andthetheadvent
adventofofphotographic
photographicpapers paperswith
witha a
preprintedaddress
preprinted addressfield
fieldononthetheback
backrevolutionized
revolutionizedtourist
touristportraits
portraitsasasititmade
madethemthemmuch
much
moreaffordable.
more affordable.ItItisisnotnotsurprising,
surprising,then, then,that
thataalarge
largenumber
numberofofsuchsuchcards
cardsexist.
exist.
TheAustralian
The Australiantravel
travelandandshort
short story
story writer
writer James
James Francis
Francis Dwyer
Dwyer notednoted in 1922
in 1922 thatthat
‘I
‘I have sat upon the Square till I think I have a personal acquaintance with every
have sat upon the Square till I think I have a personal acquaintance with every fat pigeon.’ Dwyerfat pigeon.’ Dwyer
alsomentioned
also mentioned an an American tourist tourist with
withwhom
whomhe hestruck
struckupup a conversation
a conversation andand
who had
who
done
had all the
done tourist
all the things
tourist thatthat
things werewere
de rigeur, including
de rigeur, ‘I have
including beenbeen
‘I have photographed
photographed feed-
ing these
feeding here
these pigeons’
here pigeons’[63].
[63].
This
Thischanged
changeddramatically
dramatically with
withthethe
introduction
introduction of cheaper and and
of cheaper stronger photopapers,
stronger photopa-
which then led
pers, which to the
then leddevelopment
to the developmentof real photo
of realpostcards. A selection
photo postcards. of theseof
A selection commercial
these com-
productions is shownisinshown
mercial productions Figures 11–13. Photographers
in Figures would would
11–13. Photographers offer tooffer
photograph indi-
to photograph
viduals, couples
individuals, (Figures
couples 11A and
(Figures 11A13E), and groups
and 13E), and groups(Figure 13B). 13B).
(Figure Couples were were
Couples offered
of-
comprehensive
fered comprehensive sets, being
sets,photographed
being photographed as a pairasand individually
a pair (Figure(Figure
and individually 11A–C),11A–C),
while
individuals were offered
while individuals different
were offered poses (Figure
different 11D–E).
poses (Figure The subjects
11D–E). were international
The subjects were interna-
tourists, with mailed
tional tourists, cards known
with mailed from countries
cards known throughout
from countries Europe,Europe,
throughout to Northtoand South
North and
America, as well as Australia (destinations based on addresses and
South America, as well as Australia (destinations based on addresses and postmarks). In postmarks). In addi-Heritage 2021, 4 3268
Heritage 2021, 4 FOR PEER REVIEW 12
tion, there there
addition, were,were,
of course, also domestic
of course, tourists,
also domestic as documented
tourists, as documentedby thebyCatholic Curate
the Catholic Cu-
(Figure 13D). Images of French sailors (Figure 13E) or the soldier of the
rate (Figure 13D). Images of French sailors (Figure 13E) or the soldier of the German German Afrika
Af-
Corps (Figure
rika Corps 13F) 13F)
(Figure attestattest
to the
to wide appeal
the wide these
appeal photographs
these photographs had,
had, cutting
cuttingacross
acrossall
all
social
socialstrata.
strata.People
Peoplewere
were photographed
photographed through thethe
through seasons from
seasons summer
from summer (Figure 12A)12A)
(Figure to
winter (Figure
to winter 12B),
(Figure wearing
12B), wearingcasual (Figure
casual 12D)12D)
(Figure to formal dress
to formal (Figure
dress 11D),
(Figure including
11D), includ-
traditional attireattire
ing traditional such such
as a kimono (Figure
as a kimono 13C).13C).
(Figure
Figure 8. Example of an outdoor portrait of a seated woman. Full-plate albumen print (203 × 225
Figure 8. Example of an outdoor portrait of a seated woman. Full-plate albumen print
mm). Photograph by Antonio Genova (Venice), 1880s (author’s collection).
(203 × 225 mm). Photograph by Antonio Genova (Venice), 1880s (author’s collection).
Thebases
The basesofofthe
thecast
castiron
ironflagpoles
flagpoleswerewerefavored
favoredlocations,
locations,not
notonly
onlybecause
becauseofofthe
the
background of the entrance gates to the Basilica San Marco, but also, presumably,
background of the entrance gates to the Basilica San Marco, but also, presumably, because because
thesubjects
the subjectscould
could stand
stand elevated
elevated above
above the the
flockflock of pigeons
of pigeons at feet.
at their theirAfeet. A number
number of theseof
these personalized
personalized postshow
post cards cardssmiling,
show smiling, if not positively
if not positively beaming,beaming,
women,women, while
while the the
facial
facial expressions of many of the men accompanying them make it
expressions of many of the men accompanying them make it quite clear that they would quite clear that they
wouldberather
rather doingbe doing anything
anything else but else
this. but this.Heritage 2021, 4 3269
Heritage 2021, 4 FOR PEER REVIEW 13
Heritage 2021, 4 FOR PEER REVIEW 13
Figure9.9.Example
Figure Exampleofofananoutdoor
outdoorportrait
portraitofofa ayoung
youngwoman
womanfeeding
feedingpigeons.
pigeons.Full-plate
Full-platealbumen
albumen
Figure 9. Example of an outdoor portrait of a young woman feeding pigeons. Full-plate albumen
print(203
print (203××225
225mm).
mm).Photograph
Photographby
byCarlo
CarloNaya,
Naya,1880s
1880s(author’s
(author’scollection).
collection).
print (203 × 225 mm). Photograph by Carlo Naya, 1880s (author’s collection).
Figure 10. Example of a studio portrait of Beth D. Kimberly. Cabinet card (117 × 165 mm; albumen
Figure 10. Example of aa studio portrait of
of Beth
Beth D. Kimberly. Cabinet card
card (117
(117 ×× 165
165 mm; albumen
Figure 100Example
print, 10. of by
× 144 mm) studio
photoportrait
studio Giovanni D.Contarini
Kimberly.(Venice),
Cabinet early 1890s mm;collection).
(author’s albumen
print, 100 × 144 mm) by photo studio Giovanni Contarini (Venice), early 1890s (author’s collection).
print, 100 × 144 mm) by photo studio Giovanni Contarini (Venice), early 1890s (author’s collection).Heritage 2021, 4 3270
Heritage 2021, 4 FOR PEER REVIEW 14
(A) (B) (C)
(D) (E) (F)
Figure
Figure 11.11. Examples
Examples ofof commercialtourist
commercial touristphotography
photography in
in front
front of
of San
SanMarco,
Marco,Venice.
Venice.(A–C,F)
(A–C,F)Undated;
Undated;(D,E) 29 29
(D,E) March
March
1923 (author’s collection).
1923 (author’s collection).
The
Thephotographers operatingon
photographers operating onSanSanMark’s
Mark’ssquare
squarewere
were licensed
licensed with
with thethe Venice
Venice
Municipal
Municipalgovernment,
government, as were the
as were the sellers
sellersof
ofbird
birdseed
seedtotofeed
feedthe
the pigeons.
pigeons. A number
A number of of
companies
companiesareareon
onrecord
record(based
(basedon
onimprints
imprintson onsome
someofofthe
theimages),
images),but
butno
nochronology
chronologyhas
sohas
farsobeen established.
far been established.Heritage 2021, 4 3271
Heritage 2021, 4 FOR PEER REVIEW 15
(A) (B) (C)
(D) (E) (F)
Figure
Figure 12.12. Examples
Examples ofof commercialtourist
commercial touristphotography
photography in
in front
front of
of San
SanMarco,
Marco,Venice.
Venice.(A–C,E,F)
(A–C,E,F)undated,
undated,except (D)(D)
except 29 29
September 1910 (author’s collection).
September 1910 (author’s collection).
Someimages
Some imageshave
havethe
thecommercial
commercial photographers
photographers in in
thethe background
background (Figures
(Figures 14 and
14 and 15). A
15). A photo taken in the first decade of the twentieth century shows two photographers
photo taken in the first decade of the twentieth century shows two photographers at work
at work14).
(Figure (Figure
While14).
theWhile
persontheinperson in the
the white white
suit suit 14A)
(Figure (Figure 14A) likely
is most is mostthe
likely thethe
client,
client, the person with the dark suit and hat standing behind the other photographer (Fig-
person with the dark suit and hat standing behind the other photographer (Figure 14C)
ure 14C) is most likely the image handler who would ferry the exposed negative(s) to the
is most likely the image handler who would ferry the exposed negative(s) to the store to
store to be developed.
be developed.Heritage 2021, 4 3272
Heritage 2021, 4 FOR PEER REVIEW 16
(A) (B) (C)
(D) (E) (F)
Figure
Figure 13.13.Examples
Examplesof
of commercial
commercial tourist
touristphotography
photographyin in
front of San
front Marco,
of San Venice.
Marco, (A–F)(A–F)
Venice. undated. All undated
undated. (au-
All undated
thor’s collection).
(author’s collection).
In
Inaaphotograph taken in
photograph taken in the
the1960s,
1960s,we wenote
notethe
thephotographer
photographer with
with thethe black
black light
light
cloth over his
cloth over his head, while an assistant provides the subject (in white dress) with additional
while an assistant provides the subject (in white dress) with additional
bird
birdfood
foodto
toliven
liven up the resulting
resultingimage
image(Figure
(Figure15).
15).The
The tourists
tourists were
were then
then given
given a docket
a docket
(Figures
(Figures16
16and
and 17)
17) that they
they could
couldtake
taketotothe
thephotographer’s
photographer’s store
store to view
to view (and
(and hopefully
hopefully
purchase)
purchase)the
the image.
image.Heritage 2021,444FOR
Heritage2021, FOR PEER
PEER REVIEW
REVIEW 3273
1717
Heritage 2021,
(A) (B) (C)
(A) (B) (C)
Figure 14.
Figure 14. Tourist
Touristphotography
photographyininaction. St. Mark’s
action. square,
St. Mark’s 1900s.1900s.
square, (A) Private photograph;
(A) Private (B,C) detail,
photograph; (B,C)showing profes-
detail, showing
Figure
sional 14. Tourist photography
photographer in the in action. St. Mark’s square, 1900s. (A) Private photograph; (B,C) detail, showing profes-
background.
professional photographer
sional photographer in the in the background.
background.
(A) (B)
(A)in action. St. Mark’s square, 1960s. (A) Private photograph;
Figure 15. Tourist photography (B) (B) detail, showing profes-
sional photographer
Figure 15. Tourist in the background
Touristphotography
photography (author’s collection).
Figure 15. ininaction.
action.St.St. Mark’s
Mark’s square,
square, 1960s.
1960s. (A)(A) Private
Private photograph;
photograph; (B) detail,
(B) detail, showing
showing profes-
professional
sional photographer in the background (author’s
photographer in the background (author’s collection). collection).
An image taken in the early 1980s shows the tourist photography both on a commer-
cial level (Figure
An image 18, top
taken
taken in left)
inthe
the and1980s
early
early a private
1980s shows
shows level (center,
the
the right). The small
touristphotography
tourist photography A-frame
both
both onon adver-
a commer-
a commercial
tising
cial sign
level shows
(Figure the
18, range
top of
left) available
and a options.
private level This image
(center, also
right). nicely
The illustrated
small
level (Figure 18, top left) and a private level (center, right). The small A-frame advertisingA-frame the op-
adver-
eration,
tising comprised
sign shows
sign shows of the
the range
the range photographer,
of available
of available options. the tout
options.
This image(next to
This imagethe photographer),
also nicely
also nicely and
illustrated
illustrated the im-
the op-
the operation,
age handler
eration,
comprised of(with
comprised envelope underthehis
of the photographer,
the photographer, arm)
tout thewho
(next tout would
to the(next ferry
to thethe exposed
photographer),
photographer), and thenegative to
thethe
and handler
image im-
storehandler
age
(with to be developed
(with
envelope under and
his printed
envelope under
arm) within
who hiswould
arm)thewho
hour.would
ferry ferry the
the exposed exposed
negative to negative
the storeto tothe
be
developed
store and printedand
to be developed within the hour.
printed within the hour.Heritage 2021, 44 FOR PEER REVIEW
Heritage 2021, 3274
18
Heritage 2021, 4 FOR PEER REVIEW 18
(A) (B)
(A) (B)
Figure 16.
16. Tourist
Tourist photography
photography inVenice,
Venice, 1960s.Customer
Customer docketofofSan San MarcoFilm,
Film, withjob
job identification number for
Figure
Figure 16. Tourist photography inin Venice,1960s.
1960s. Customerdocket
docket of SanMarco
Marco Film,with
with jobidentification
identificationnumber
numberfor
fora
a photo
photo taken
taken in in
a a gondola.
gondola. (A)
(A) front;
front; (B)
(B) reverse
reverse (author’s
(author’s collection).
collection).
a photo taken in a gondola. (A) front; (B) reverse (author’s collection).
(A) (B)
(A) (B)
Figure 17. Tourist photography in Venice, 1980s. Customer docket with job identification number for a photo taken in a
Figure 17. Tourist photography
photography in Venice, 1980s. Customer
Customer docket
docket with
with job
job identification
identification number
number for
for aa photo
photo taken
taken in
in a
gondola (A) front; (B) reverse (author’s collection).
gondola (A) front; (B) reverse (author’s collection).
gondola (A) front; (B) reverse (author’s collection).
Some of the images were clearly ‘rushed’ jobs, as evidenced by the failing fixatives
Some
Some of
of the
the images
images were
were clearly
clearly ‘rushed’
‘rushed’ jobs,
jobs, as evidenced
evidenced by
by the failing fixatives
used in some images, affecting long-term preservations. A good example of this is an im-
used
used in
insome
someimages,
images,affecting
affectinglong-term
long-termpreservations.
preservations.A good example
A good of this
example is anisim-
of this an
age dating to the 1970s (Figure 13B).
image
age dating
dating to the
to the 1970s
1970s (Figure
(Figure 13B).
13B).Heritage 2021, 4 3275
Heritage 2021, 4 FOR PEER REVIEW 19
Figure
Figure 18.
18. Tourist photography in
Tourist photography in action.
action. St.
St. Mark’s
Mark’s square, Venice, in
square, Venice, in the
the early
early 1980s
1980s (author’s
(author’s collection).
collection).
The presence
presenceof oftouts,
touts,which
whichwould
would have
havebeen
beenpresent butbut
present areare
not not
evident in the
evident in ear-
the
lier images,
earlier indicates
images, the competitive
indicates nature
the competitive of the
nature ofvarious photographic
the various studies
photographic that were
studies that
permitted to operate
were permitted on theonsquare.
to operate the square.
Usually, tourists would buy a quantity of prints to be mailed to family and friends,
either as
aspostcards,
postcards,ororenclosed
enclosedin in
letters. On occasion,
letters. tourists
On occasion, would
tourists purchase
would the nega-
purchase the
tive as well
negative (Figure
as well 19). Surviving
(Figure examples
19). Surviving of these
examples are very
of these rare, rare,
are very suggesting that such
suggesting that
such purchases
purchases were were
a verya uncommon
very uncommon occurrence.
occurrence.Heritage 2021, 4 3276
Heritage 2021, 4 FOR PEER REVIEW 20
(A) (B)
(C)
Figure
Figure 19.
19. Example
Example of
ofaaglass
glassplate
platenegative
negativesold
soldby
bythe
thephotographer
photographer‘San
‘SanMarco
Marco Gruppo
Gruppo A’A’ to
to the
the tourist
tourist (negative
(negative sleeve
sleeve
dated
dated 12 November 1931). (A) Exterior of paper sleeve; (B) inverted scan of the glass plate negative; (C) interior of paper
12 November 1931). (A) Exterior of paper sleeve; (B) inverted scan of the glass plate negative; (C) interior of paper
sleeve with extracted glass plate negative (author’s collection).
sleeve with extracted glass plate negative (author’s collection).
3.2. Example 2: Ostrich Farms in California
3.2. Example 2: Ostrich Farms in California
The second example of commercial tourist portraits comes from commercial enterprises
The second example of commercial tourist portraits comes from commercial enter-
in the U.S.A. In this example, the photography was not carried out in the public domain, but
prises in the U.S.A. In this example, the photography was not carried out in the public
on private premises and formed part of the suite of attractions that were offered.Heritage 2021, 4 3277
Heritage 2021, 4 FOR PEER REVIEW 21
domain, but on private premises and formed part of the suite of attractions that were of-
fered.
3.2.1.Context
3.2.1. Context
Ladies’ fashionas
Ladies’ fashion asworn
wornatatthe theend
endofofthe thenineteenth
nineteenthand andthetheearly
early twentieth
twentieth century
century
saw aa proliferation of
saw of hats
hatsornamented
ornamentedwith withexotic
exoticfeathers
feathers(see (seethethehathatworn
worn in Figure
in Figure 11F).
On the
11F). Onone thehand, this led
one hand, thistoled
thetodecimation
the decimation of birdofpopulations
bird populations in the inwild,
the such
wild,as birds
such as of
paradise
birds in PapuainNew
of paradise Papua Guinea
New[64] or of[64]
Guinea seabirds
or of on the islands
seabirds on the of islands
Micronesia [65,66]. The
of Micronesia
millinery
[65,66]. The fashion,
millinery as well as the
fashion, as trend
well astothe
wear feather
trend boasfeather
to wear in the 1920,
boas in further strengthened
the 1920, further
strengthened an already established market for the formalized farming of ostriches (for in
an already established market for the formalized farming of ostriches (for their leather)
South
their Africa in
leather) and other
South countries
Africa [67–69].
and other countries [67–69].
To service the demand
To service the demand in the United in the United States,
States, a number
a number of Ostrich
of Ostrich farms farms
operatedoperated
in
in California,
California, Arizona,
Arizona, Arkansas,
Arkansas, Texas,Texas, and Florida
and Florida from the from the mid-1880s
mid-1880s [70,71]. The [70,71].
protag- The
protagonist
onist was Edwin was Edwin
Cawston, Cawston,
who inwho 1886infounded
1886 foundedCawston’s Cawston’s
OstrichOstrich
Farm at Farm at Norwalk,
Norwalk, but
but moved
moved it to itSouth
to South Pasadena
Pasadena from from 1895,
1895, where where it operated
it operated until
until 19351935 [72–74].
[72–74]. While
While thethe
breedingand
breeding andsubsequent
subsequentexploitation
exploitationofofostriches
ostrichesfor fortheir
theirfeathers
feathers and,
and, toto a lesser
a lesser degree,
degree,
for leather,
for leather, was the the primary
primarybusiness
businessobjective,
objective,Cawston
Cawstonwas wasshrewd
shrewdenough enough to to
realize
realizethat
opening up the farm to visitors, allowing them to view the
that opening up the farm to visitors, allowing them to view the exotic birds while also exotic birds while also touring
the operations,
touring would increase
the operations, would increasesales. sales.
HisSouth
His SouthPasadena
Pasadenaoperation
operationattracted
attractedmany manytourists
touristsasasititwaswasstrategically
strategicallylocated located
alongthe
along theLosLosAngeles
AngelesElectric
ElectricRailway
Railwayline lineconnecting
connectingLos LosAngeles
Angeles with
with thethe Mount
Mount Lowe
Lowe
RailwayininPasadena.
Railway Pasadena. Cawston
Cawston offered
offered tourists
tourists a substantive
a substantive salessales
roomroom of products
of products (hats,
(hats, sto-
stolas,
las, and and handbags)
handbags) and augmented
and augmented thattours
that with withoftours of the operations.
the operations. A specialA special
studio studio
(Figure
(Figure
20) 20) provided
provided the opportunity
the opportunity for tourists to forbetourists
photographed to be photographed
mounted on an ostrich mounted on an
(Figure
ostrich (Figure 21) or ride ostrich-drawn
21) or ride ostrich-drawn carts Figures 22 and 23A–C). carts Figures 22 and 23A–C).
A rival
A rival venue, also offering
offeringostrich-drawn
ostrich-drawncart cartrides,
rides,opened
opened inin
19061906 at East
at East Lake Park
Lake
(later(later
Park named namedLincoln Park)Park)
Lincoln in LosinAngeles
Los Angeles(Figure 23D–F).
(Figure Established
23D–F). by Francis
Established Earnest,
by Francis
the Los the
Earnest, Angeles OstrichOstrich
Los Angeles Farm operated
Farm operateduntil 1953until[75].
1953 Cawston’s
[75]. Cawston’s success in California
success in Cal-
also spawned
ifornia also spawned copy-cat operations
copy-cat in Arizona
operations in Arizona andand in Jacksonville,
in Jacksonville, FLFL [76].
[76].The
TheFlorida
Flor-
operation
ida operation alsoalso
doubled
doubled as aastourist
a touristattraction
attraction and andthusthusalso
alsocopied
copied Cawston’s
Cawston’s ostrich-cart
ostrich-
rides
cart (Figure
rides (Figure 23G,H),
23G,H), butbutalsoalsoadded
addeda arace racetrack
track where
where some some birds
birdscould
couldbeberaced raced byby
riders [76]. The farm advertised both the riding and cart-driving
riders [76]. The farm advertised both the riding and cart-driving of ostriches daily [77]. of ostriches daily [77].
Figure 20.
Figure 20. The
The photographic
photographic sales
sales outlet
outletand
anddarkroom
darkroomatatCawston’s
Cawston’sOstrich
OstrichFarm,
Farm,South
SouthPasadena.
Pasadena.Section of of
Section a card
a card
showing a tourist driving an ostrich drawn cart. Dated 15 February 1923 (author’s collection).
showing a tourist driving an ostrich drawn cart. Dated 15 February 1923 (author’s collection).Heritage 2021, 4 3278
3.2.2. Production and Consumption of Tourist Photography in California
Rather than it being a stand-alone business, as in the case of the photographers at
Venice, the tourist photography at the ostrich farms was only one facet of the commercial
enterprise, together with sales of finished products, the rides, and the guided tours. It
appears that, at least for a short period, Cawston simply subcontracted out the photography
to M.A. Wesner of Pasadena (Figure 24), but that he later, sometime after World War I,
took over his own production setting up a separate building to act as a sales outlet and
darkroom. A large sign above the verandah advertised ‘Your photo sitting on/driving an
ostrich’ broadcast the photo opportunities on offer, while a showcase presented examples
of the finished works (Figure 20).Cawston offered the tourist two photo opportunities: to be
photographed sitting on and holding the reins of an ostrich-drawn cart (Figures 21 and 23)
and to be photographed sitting on an ostrich that was taxidermically preserved for that
purpose (Figure 22) and which, weather permitting, would be set-up ‘on location’ [78].
In keeping with the custom, and clothing, of the times, there are types of portrayals:
women (and some men) riding ‘side saddle’ and men and children sitting astride. For
the photography, the base of the taxidermy mount was obscured with sand [78]. The
demand for this kind of photograph was such that Cawston went through at least four
taxidermy mounts [78].
While the Los Angeles Ostrich Farm, as well as a farm in Jacksonville (Florida), offered
to photograph tourists riding ostrich-drawn carts, only the Florida operation offered to
photograph visitors sitting on a taxidermically preserved ostrich. This, however, was only
conducted in a studio setting—as opposed to the ‘realistic’ open-air scenario offered by
Cawston—where the support structure of the mount was quite obvious [78].
The tourist photography offered at these venues comprised set-pieces, with the ma-
jority of images taken at the same locations and the same angles [78]. The majority of the
imagery shot at the ostrich farms seem to be of women and children, with a considerable
proportion of children [78].
4. Discussion
The postcard industry found one of its most profitable outlets in the emerging mass
tourism, and picture postcards are inseparably intertwined with the tourist experience of
the places visited. The visual and verbal imagery in travel brochures and guidebooks/coffee
table books set-up expectations among the tourists as to the sites and sights to be seen
and experienced, which are then re-‘broadcast’ to the tourists’ friends and family through
postcards being mailed [17]. The receipt of these postcards by the addressee authenticated
the sender’s presence at the attraction visited [79]. More often than not, the messages were
short, and the card frequently merely served as proof of itinerary [80]. The latter practice
authenticated the traveler, but also fed the public’s desire to collect postcards of desirable
locations.
The publication of real photo postcards, where even small print runs could be pro-
duced economically, allowed protagonists to develop and consolidate their own narrative
of events [33], effectively broadcasting it to a wider audience. As shown in the preceding
pages, visitor attractions serviced that market by establishing staged photo opportunities
that placed visitors into the action, authenticating their visit to recipients. Other examples
are images taken by roving photographers at popular parks, capturing images of visitors
next to exotic plants printed with varied expanses of writing space (Figure 25).You can also read
