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Kathleen With Bouquet
THE PHOTOGRAPH IS A PRODUCT OF THE PHOTOGRAPHER
In order to determine the social significance of photography within the O’Reilly photograph collection at Point Ellice House we must first examine the photographer as spectator. The photograph is always the product of the photographer. The integrity of the photographer must be examined, as they control the imagery of the decisive moment and produce the snapshot as document. Amateur photographers would have taken a significant amount of photographs at Point Ellice House. Although the majority of photographs in the collection are formal studio portraits, it is the casual or snapshot photograph as produced by the amateur of personal photography that this essay examines.

THE PHOTOGRAPHER AND SUBJECT
The photograph is also the product of a relationship between the photographer and the subject. Every detail, arranged or not, may have significance in determining this relationship. In the deconstruction of a photograph several elements must be individually examined. The environment that is chosen, the facial expressions, the way ones sits or stands, objects in the photograph and gestures are clues to an individual’s self-image, the photographer’s voice, and to a larger set of values. (Robert Davidson, "Turning a Blind Eye: The Historian’s Use of Photographs" BC Studies no.52, Winter 1981-82, p.18)

In the O’Reilly collection of snapshots, Kathleen was the main subject. She was also presented in several studio portraits in the collection. This illustrates that she was the pride and joy of the O’Reilly family. Furthermore, the setting of the snapshots, the garden with the beloved Point Ellice House, is a clear indication that the O’Reilly took pride in their home, house and garden.

In the photograph of a tea party on the lawn at Point Ellice House, the informal setting announces to the viewer a typical practice of British colonial life in Victoria. Tea time in the garden allowed Kathleen to entertain guests and show off her prized tea settings. The relaxed postures of the men and the elegant presentation of the women epitomize a typical composure. This photograph also captures a sense of self-image that the subjects choose to portray to the photographer. It is a fact that in casual and formal photography, the subject always asserts itself. This sense of the subject’s desire to portray a particular self-image is more obvious in the second photograph. The viewers are aware of the photographer and have changed their postures.