HAND-COLOURED

NEW ZEALAND
TH E P H O TOGRAPHS OF W HIT ES AVIATION
Every single photo coloured by hand?
Using cotton wool? Yes, such was the era of
hand-coloured photography – a painting
and photograph in one – the way you got
a high-quality colour photo before colour
photography became mainstream.

Some of New Zealand’s best hand-coloured

photos were produced by Whites Aviation
from 1945. For over 40 years, the glorious
scenic vistas were a sensation, adorning
offices and lounges around the land;
patriotic statements within New Zealand’s
emerging visual arts. Now, despite massive
changes in society and photography, the
stunning scenes and subtle tones still
enchant, as coveted collectibles; decorations
on screen; and as respected pieces of
photographic art.

But, until now, this inspirational story has

not been told; nor the full stories of Leo
White (company founder); Clyde Stewart
(chief photographer and head of colouring);
and the mission-critical ‘colouring girls’.
New Zealand’s first published collection
of hand-coloured photography is also now
enshrined, ready to enchant for decades
more. Nothing, it seems, can change the
appeal of an alluring hand-made craft.
CONTENTS
FOREWORD 4

SCENE SETTING 8

MR AVIATION 20

UNSUNG HERO 66

ONE OF THE GIRLS 90

COLOURING BUSINESS 110

GALLERY 202

ENDNOTES 404
 HAND-COLOURED ADDICTION PETER ALSOP
It has been a great privilege to write and curate this book,
building on a deep personal passion for the hand-coloured
photos of Whites Aviation.

For the book to have caught your attention, the photos colouring studio who brought the colouring sensation
wove their magic once more. For many, the pull from to life. Steady-handed and meticulous, these were artistic
the past will have been strong: ‘we had one of those’. For women engrossed in work that they loved, working in a
others, it may have been admiration for the craft; interest company that they cherished. Having worked industriously
in aviation; or the simple joy of New Zealand on show. and successfully behind the scenes, it’s high time these
Or was it the subtle tones in an otherwise saturated world? creative women are revealed.
For some, there’ll still be a lingering doubt: was every photo
really painted by hand? Such was the quality of Whites’ Now we look back, the contribution of the movement
work, along with contemporary amnesia of photography is clear: colour before colour photography, creating art
constraints that hand-colouring used to work around. before an art market. For many New Zealanders, the
photos opened artistic horizons – in both residential and
Despite having collected the photos for some time, the commercial settings – with a bold patriotic statement
book’s development brought new sparks. For a collector, that available alternatives couldn’t provide. Even now,
new images are always a treat, as are pieces of ephemera the photos feature in advertisements, music videos and
that help fill research cracks. Of deepest significance, feature films, tarting scenes up or dressing them down,
however, were personal connections – meeting those who still connecting with viewers over 70 years since Whites
were close to Leo White, the founder of Whites Aviation, Aviation was formed.
and Clyde ‘Snow’ Stewart, chief photographer and manager
of the colouring studio, who themselves have passed on. Notwithstanding their enduring and mainstream
appeal, Whites hand-coloured photos (and hand-colouring
Leo’s sons, Ross and Philip, shared important memories of more generally) have sat patiently in the shadows of
their father and working for the firm. Clyde’s wife, daughter New Zealand’s art and social histories. The use of a
and granddaughter (Jocelyn, Claire and Jess) provided Whites image (Queenstown, p. XX) on the title page of
great help; Jocelyn’s enviable memory filling gaps across New Zealand Photography Collected (Te Papa Press, 2015)
Snow’s company contribution for 37 years. Grace Rawson was a pleasing turn. The aim of this book is to encourage
remembered the 1950s, colouring photos for Mr Stewart deeper evaluation of Whites’ work. A fuller history of
and Mr White, like they were yesterday. And Ron Meadows New Zealand’s hand-coloured photography (forthcoming)
provided mission-critical connections and support. will further help the hand-coloured cause.

All told, I’m in no doubt that Leo and Clyde were Special acknowledgement is owed to Gary Stewart for his
outstanding men. Reflecting on a generation different to collaborative and ambitious approach to book design; the
my own, their lives reflected traits that seem less celebrated sixth time we’ve together gone to print. Our patient partners,
now: motivated resourcefulness, calm confidence and Veronica and Airihi, are also owed huge thanks. Many others
humble aspiration. Working together, the pair thrived; kindly helped, enhancing the outcome for greater good.
a potent mix of initiative and human-connection that
near-guaranteed success. Accomplishments ranged from Thank you for your interest in the hand-coloured photos
capturing landmark events and a new aerial version of of Whites Aviation. I’m confident you’ll agree that, despite
New Zealand, to the breadth of personal relationships and massive changes in photography, nothing can change
devoted loyalty of their staff. the authenticity and aesthetic of a hand-made craft. Now,
a permanent and comprehensive collection of work –
In such an inspiring environment, there was ample room decades in the making – can enchant viewers for many
for all to shine. Instrumental were the women in the decades more. I hope you enjoy the show.

10 11
 M R AVI ATI O N
LEO WHITE’S LIFE OF THRILLS
 Above: White was well-and-truly hooked on aviation, and aerial photography, capturing Charles Kingsford-Smith arriving in New Plymouth in January 1933 (ATL, WA-03250-G). One of White’s obituaries
referred to him as ‘the happy pilot’ (left, Private collection). Below: White joined the Auckland Aero Club in 1931 and enjoyed regular visits for club activities, besides his flying lessons that commenced in
October 1931. In one of White’s cars paid for by the Herald sit Fred North, Marion Bathgate, wife-to-be Irene Blakey and Doug Wood. Instructor D. M. Allan also provided aerobatic displays.

Leo also survived a plane crash, landing at Mt Ruapehu in acceptable as Rene went up again the next day, with Leo’s
1933. Piloted by respected aviator Ron Kirkup, the right wheel brother Ira and mother taking their turn on the 18th. Leo
of the plane struck a depression in the fairway of the Chateau and Rene enjoyed plenty of time together as the flying club
Tongariro golf course – the substitute landing strip after evolved into a country club, including an impressive two-storey
the pair’s plans were changed by low cloud – and the plane clubhouse with a library, billiards room and dance floor and,
keeled over.43 Neither Kirkup nor White were injured, with the outside, tennis courts, nine holes of golf and nearby swimming.
damaged aircraft making a perfect foreground subject for Leo’s D. M. Allan would treat Sunday visitors to aerobatics ahead
photo with the majestic Chateau in behind (previous page). of afternoon tea. Flying was ‘in’ and an exciting new sport for
thrill-seeking Aucklanders. While now taken for granted, it also
offered a promising end to New Zealand’s isolation.
FOR THE LOVE OF FLIGHT
While useful for photography, being a passenger wasn’t enough Leo himself was well-and-truly caught up in the potential of
for the adventurous White. On 16 October 1931, Leo had his flight, building on those life-changing events of 1921. In 1933,
first flying lesson with D. M. Allan, the instructor at Auckland he covered the national tour of Australian Charles Kingsford-
Aero Club, which had begun operations in 1929 on a leased Smith, who had been the first aviator to fly from Australia to
paddock. Leo didn’t muck around, progressing to his first solo New Zealand in September 1928. ‘Smithy’ was a popular visitor,
flight within a month, undeterred by it being Friday the 13th.44 with his plane Southern Cross used for joy-rides as he toured
Only five weeks after his first lesson, Leo set ‘a double record for around the country. Leo was there for Smithy’s arrival in New
the local club for the time required in learning to fly, both with Plymouth in 1933, capturing a majestic aerial photo of the ‘old
regard to his first solo flight and gaining the A licence’.45 bus’ in front of Mt Egmont (above). White reported: ‘As the sun
Leo and his (then) girlfriend Rene were popular members cast its last pink glow on the peak of Mount Egmont, “Smithy”
of the club, with Leo’s flying log book recording Rene as his eased the throttles … to allow photographers in slower aircraft
first passenger on 14 May 1932.46 The flight must have been to obtain shots.’47 Leo’s logbook included a note: ‘Ron’s work

36 37
64 65
 Left: Whites Aviation never owned a plane, instead forming long-lasting relationships with pilots around the country. In this photo, Stewart (left) and White (right) pose with Stan Blackmore of Blackmore’s Air
Services in Rotorua (ATL, WA-28825-F, 1951). In addition to his skill in aerial photography, Stewart was a first-class camera technician, building or modifying cameras to meet the company’s needs. Below:
Stewart sits in retirement with his purpose-built ‘Big Bertha’ camera (Collection of Ron Meadows). Top: A range of Stewart’s cameras (Stewart family collection): Kodak Speed Graphic (1940-45); Kodak
quarter-plate Graflex (1910-40); F24 Williamson (1930-50); and a Fairchild K20 (1910-45) – a camera also used extensively by Leo White.

valuation – for the protection of returned servicemen looking Fox Moths, Snow was limited to four or five magazines for a
for land – meant people weren’t keen to sell.39 Even once land day’s flying (48–60 shots).47 For some aircraft, given the size of
was acquired, it was an automatic decision for a hard-working the camera, it simply became necessary to remove the plane’s
man like Snow to dig the foundations and trenches and learn door in order to hold and use the camera.48 It was hairy work,
how to roof and do brickwork.40 requiring pilots to be well attuned to the photographer’s needs:
‘There was no means of speaking to the pilot in the Fox Moth.
BIG BERTHA All I could do was look through the window and make signs.’49

Just like his handyman status building a home, one of Leo touched on the criticality of good piloting for aerial
Snow’s key strengths for Whites Aviation was his industrious photography when he diarised a compliment for Ron Kirkup’s
disposition. He built many of the firm’s cameras and serviced manoeuvring skills to help capture ‘Smithy’ in front of Mt
or modified a wide range of equipment, such as enlargers, to Egmont. He also shared insights in his touring account in
suit the company’s needs. ‘Building a camera never appeared 1938 for the New Zealand Observer, including on the tricky sub-
to me to be that complicated. All a camera is, really, is a box specialty of air-to-air photography: ‘All the good photographs
with a lens at one end and a focal plane at the other that you I have ever taken in the air routes in New Zealand have been
put a material in that’s sensitised to take a picture – it didn’t
appear to me to be that complicated. … We used ex-service
cameras – for 5 pounds you’d get a camera that would have
cost hundreds and hundreds. … They proved the basis of our
aerial photography really.’41 ‘We had gear that suited the trade;
it wasn’t elaborate gear but it was reliable, thorough, we knew
it and understood it.’42

A favourite of Snow’s – and the company’s given its reliability

and results – was ‘Big Bertha’ (right). ‘I built it to house a lens
which I got from Rabaul during the war. It wasn’t actually
stolen – it had been left lying around! I found a superb Japanese
camera but I only wanted the lens, so I built a camera that
accommodated it, which used glass plate negatives.’43 Snow
estimated that he took around 20,000 photographs with Big
Bertha,44 a mark of the camera’s durability given the often
challenging conditions of photographic work during flight.
Even in 1982 when retiring, Snow lamented that they’d ‘tried
to find something more up-to-date to give more flexibility but
without much success’.45

Bertha took glass plates held in a 12-pack magazine: ‘You took

your picture and pulled the negative through into a little
leather bag ... every 12th picture that was taken, you had to
replace the magazine.’46 Adding to the challenge was the very
confined area in which to handle the heavy equipment and
change the slides. In the case of early work in Tiger Moths and

80 81
‘Every one of thousands of hand-coloured photographs
that have gone out of Whites Aviation over the years (and
which hang throughout the country) have been touched
by me at some stage. A little bit of me has gone into
everything that has been turned out here.’

A 1963 Women’s Weekly story on the studio (reprinted on page no aspect of the company’s operations in which he couldn’t
xx) underscored Snow’s careful approach: ‘When Mr Stewart lend a competent or expert hand. Even Snow’s holidays often
has inspected the finished work as it comes from the artists, incorporated work. From his caravan at Lake Rotoiti, he’d motor
and as if by instinct has added the little details only he knows across to Whakatane for a flight or take Stan Blackmore’s plane
are missing, murals not under glass are sprayed with a cellulose from Rotorua.60
lacquer that serves not only as protection but also enlivens the
colour.’57 Snow also printed the base black-and-white photos In bowing out, Snow noted that he was ‘leaving a fully trained
and, as necessary, retouched them as part of the developing team to carry on. … I feel I’ve contributed something; it’s
process. In the case of Kaikoura Coast (p. xx), probably the most been satisfying. Every one of thousands of hand-coloured
popular hand-coloured image produced, the negative was badly photographs that have gone out of here over the years (and
scratched and required retouching each and every time.58 which hang throughout the country) have been touched by me
at some stage. A little bit of me has gone into everything that
Snow hired and managed the women that made up the studio, has been turned out here.’61 It was an understated exit by an
sustaining a team of around eight for a lot of the time. Snow understated man.
adored the women and the women adored Snow: ‘He was a lovely
man; gentle, caring and just let us get on with it … and he’d Snow died in July 2012, aged 90, his memories extensive and
become one of the girls’, recalled Grace Rawson. According to sharp until the very end. At the time of writing (2016) he was
Leo’s son Ross, ‘it was a hen party in there all the time!’ Such was survived by his adorable wife Jocelyn, their four children and
Snow’s love for the product he even took work home; multiple their respective families. Pleasingly, he enjoyed a 2009 book
hand-coloured images adorning his home, including a favourite on the black-and-white aerial photos of Whites62 – in some
image of Mt Ruapehu (illustrated at the end of this essay) in his ways a reincarnation of the 1952 and 1960 Whites Aviation
bedroom. ‘The result was much superior to colour negatives.’59 Pictorial Reference publications. ‘It had always been my anguish
that somehow or other the collection would be broken up
and dispensed or dispersed’63 – now safely in the hands of the
SIGNING OUT
Turnbull Library and extensively digitised for longevity and
Snow gave Whites Aviation the best part of 37 years’ loyal public use. What was dispersed however, intentionally and very
service, the last 15 as a steadying influence and calm leader, successfully, was the thousands of hand-coloured photos that
including as a trusted advisor to the firm’s new owner, Shane Snow pivotally helped create. And, now, a significant published
Niblock, from 1972. Snow worked incredibly hard and there was collection of these can be enjoyed too.

Right: Coinciding with an earlier book on the black and white aerial photos of Whites Aviation, Clyde Stewart was interviewed by the Sunday Star Times in October 2009 (Fairfax Media NZ, 623924074).
His late-life interviews, including those with MOTAT and Ngā Taonga Sound & Vision, are an important record of the work of Whites Aviation and aerial photography in New Zealand (along with other content,
such as his father Frank’s role as a pioneer cinemaphotographer and partnership with Leo White in Stewart and White, a photography company that, in practical effect, Whites Aviation reincarnated after the
war). Following pages (album): A selection of photos from Stewart’s life. Subsequent pages: One of Stewart’s favourite hand-coloured images that hung in this bedroom for decades (Mount Ruapehu, c.1965,
380x685mm, Collection of the Stewart family, Negative: similar to WA-62906-G, ATL, 1964).

84 85
 Turpentine would allow paint to be removed and it could be
painted over, with more success if going darker as opposed
to lighter. Razor blades were also sometimes used for paint
removal: ‘heavy-handed girls could never do this job!’5 Large
surface areas needed special attention, with sky in particular
requiring a consistent and quick hand to avoid patchiness.

During her time at the company – because sizes did change –

Grace recalls the standard sizes of the ‘Scenic Series’ photos as
20 x 16 or 16 x 12 inches. A 20 x 16 inch image would take about
one morning to complete. ‘It was surprising how proficient we
got. Once we learnt how to do the colours and how it looked,
we could be pretty quick about it.’ When the girls painted large
murals, it wouldn’t be uncommon to work as a team, standing,
sitting or climbing up on stools (left). Even then, big pieces
could take many days to complete, nine in the case of a large
Lake Taupo photograph worked on by four girls in 1963. Each
girl had their favourite aspect – for Grace it was colouring
mountains – but big pictures carried special enjoyment for
their variety and added camaraderie. There was also a special
interest in doing something absolutely new.

For cityscapes – which Grace found the hardest to get right

given intricate building detail – notes were taken of the colours
of roofs and special buildings, ‘otherwise we were free to use

Left: Grace Rawson, Lorraine Sutton and Nola Mann work on colouring a large photographic mural
for H & J Smith’s store in Gore in 1955 (WA-39940). Large murals like this took a number of days
for a team of colourists. Nola Mann worked as a colourist at Whites from around 1955 until around
1998, likely making her – given the popularity of Whites’ work – the most extensive hand-colourist in
New Zealand’s history. Above: Grace at work on one of the smaller scale-images that Whites initially
sold mounted on a cream matte (Collection of Grace Rawson). Following pages: The centrefold of a
Whites Aviation brochure advertising the ‘Glorious New Zealand’ series (c.1960, altered for display).

100 101
Above: A set of Winsor & Newton paints for hand-colouring photographs. A bottle of turpentine can be seen on the right of the tray, with cotton wool and sticks in the bottom to be used as the ‘brush’.
The instructions noted that ‘this range of high-grade oil colours provides an effective, yet comparatively simple, means of colouring non-glossy photographic prints and enlargements. The series has been
intentionally restricted to a small number of colours, but from these a wide range of tones and shades can be obtained without fear of chemical interaction.’ Right: In 2016, Grace Rawson hand-coloured a
contemporary photo of Queenstown, about 50 years after she last coloured a photo. The hand-colouring was done for a short documentary about Grace and Whites Aviation called The Colourist (Co-directed
by Greg Wood & Peter Alsop). Following pages: The final version of Grace Rawson’s Queenstown (2016). Further appreciation is recorded for Grace’s support of both the documentary and this book.

As romances blossomed, the girls also attended each other’s Grace finished with Whites Aviation in around 1963 (her
weddings, with Mr and Mrs White and Mr and Mrs Stewart otherwise-sharp memory hazy on this fact), ending a decade’s
always present ‘as an important part of our lives’. Grace’s own loyal service and, for her, extremely enjoyable employment.
marriage to Eugene ‘Buster’ Rawson in 1958 was no exception ‘I feel very privileged to have been part of that.’ Buster owned a
and all the staff were guests. The honeymoon was planned to clothing manufacturing business and, from one creative outlet
visit all the places that Grace had painted in both the North to another, Grace spent the next 20 years designing clothes:
and South islands. ‘For 4 weeks we explored in our small ‘woman’s dresses, suits and many ball gowns, selling throughout
Thames Ford van, sleeping in a tent. I really learned to love this New Zealand which meant many more trips around the
beautiful country of ours.’ country keeping my memories of the photos alive.’ In late life,
Grace turned back to oils, reigniting her passion for painting
and selling many scenes of New Zealand. The memories of
ENDURING POPULARITY
the miniatures were also still strong; this time around the Old
Reflecting back, Grace explained her theory on the Whites Masters were reproduced at scale. As she said as a young girl,
sensation and the orders coming in thick and fast: ‘It was very ‘I will be an artist!’
important for people to have photographs of New Zealand on
their walls in those days. And once Whites started selling, they More widely, Grace knows first-hand that the hand-colouring
went bezerk everywhere. In my view, everybody bought them legacy lives on. ‘I love to come across the photos 60-odd years
because there was nothing else like them at the time. There later: a majestic mural of the Remarkables in a Queestown café;
were some prints of Van Gogh’s sunflowers, Brugal’s paintings, several in Russell and many in a café in Taupo.’ All locations,
Constable’s hay wain – but suddenly Whites was different. it so happens, of special significance in Grace’s life. Wherever
It was real; and the country we lived in; and hand coloured. she goes, the popular Whites Aviation scenes are never far away
It absolutely took off.’ At that time, the market for coloured … and, given the sensation, nor are photos that she personally
farm photos was also driving demand. Grace recalls salesmen coloured herself.
travelling extensively to show farming families small photos,
and hand-coloured samples, to entice them into an order.

106 107
COLOURING BUSINESS THE LEGACY OF WHITES AVIATION
In March 1945, an optimistic Leo White, undeterred by
the war, opened the doors of Whites Aviation in down-
town Auckland. Amongst the company’s offerings were
photographs coloured by hand, which they produced for
over 50 years; the best known examples – both then and
now – of hand-coloured photography in New Zealand.

The story of Whites Aviation is an interesting combination he and the company could never fully shake. Despite Whites’
of different threads. The development of aviation and aerial prolific production of hand-coloured photos over a long period,
photography set the context, within which an innovative White only about 80 form part of the collection (around 45 if counting
– with plenty of helpers – could forge his fame. To many his
fame was advancing aviation through promotional services,
including magazines and books. To others, aerial photos fuelled
unique images); a trivial slice of the hand-coloured portfolio
Whites produced. Small but important holdings are also found
in Te Papa Tongarewa and Auckland War Memorial Museum.
LOW REZ
development and presented a new angle of national pride. The
environment was also ripe; identity-hungry New Zealanders, Outside institutional collections, the networked portfolio of
post-war, were keen to display their favourite scene. And they Whites’ hand-coloured work is strong. Several collectors have
were keen on something more than black-and-white. supported this book, allowing a comprehensive collection to
be enjoyed and permanently recorded in print. More generally,
The passage of time has been both kind and unkind to Whites’ the photos are a regular decorative feature in popular culture
hand-coloured work. That it stands today as a defining feature and appear – based on Te Papa’s 2015 publication, New Zealand
of the company’s legacy is at odds with its initial sideline intent. Photography Collected – to be on the cusp of more serious
In contrast, the lack of serious consideration of hand-coloured appraisal in the evolution of New Zealand photography (and,
photography in New Zealand’s art and cultural histories – both one would hope, in the study of New Zealand art as boundaries
Whites and more generally – defies its importance, such as in the visual arts further subside). Hand-coloured photography
putting a ‘colour’ New Zealand on show; the predominant role has also influenced some aspects of contemporary New Zealand
of women in the colouring craft; and the long-running appeal art, and the alluring aesthetic of such photography has been
of such work in popular culture. This deficit is not unique reincarnated – globally – through digital means. Building on this
to New Zealand; the attention accorded to hand-coloured publication, pieces of the neglected hand-coloured puzzle will be
photography internationally is just as sparse. easier to find and, bit by bit, can fall more easily into place.

Today, the Whites Aviation photographic collection is housed

in the Alexander Turnbull Library; more than 75,000 images
BUILDING AN AERIAL STUDIO
offering a rich record of New Zealand’s development (and some
of the Pacific and Australia) for around 70 years (c.1920–c.1990). To appreciate Whites Aviation photography, it is important
As the library has noted: ‘[The] collection was built and to understand the aerial environment within which the
maintained with loving care by a company committed to company set about its work. A comprehensive history of aerial
documenting the country, and we are proud to continue their photography in New Zealand is documented in No Clouds
work of preserving it and making it available to the people of Today,1 but some important points and new information need
New Zealand. [The photos] have been widely used by historians, traversing here.
geographers, iwi historians, and others researching land use in
New Zealand.’1 While aerial scenes (unsurprisingly) dominate, While aerial photography debuted globally in 1858, from a
almost a third of the images in the collection are taken from the balloon above Bièvre in France, it would take about another 30
ground,2 reflecting White’s history of press photography that years – a balloon ascent in Dunedin in 1889 – for New Zealand

112 113
‘staff photographer’ that was almost certainly Bourne. A record-
setting flight for altitude also occurred on 25 January 1919, with
Bourne taking ‘a number of oblique photographs of Auckland,
as well as of the machine’s altimeter so that the altitude reached
was not in dispute’.10

During this period, the first aerial photography flight in the

South Island was recorded on 8 January 1918, with Cecil Hill
at the controls and Lieutenant Colonel Sleeman taking the
shots.11 Along more official lines, the Air Force made its aerial
photography debut in 1925,12 a hint to what it would later see as
‘the eye of modern warfare’.13 The First World War had actually
unleashed the potential of aerial photography and, even then,
photography was seen as ‘a powerful weapon’.14 Out of that war,
‘the stage was set for the widespread use of aerial photography’,
including ‘a highly important and helpful instrument for
surveyors and mappers’.15 Sensing further troubled waters
ahead, a German military leader stated in 1938: ‘The nation
with the best photo-interpretation will win the next war.’16

Getting back to Bourne, it is likely that his own aerial

photography debut was in 1917 or, at latest, on the January 1918
flight. In papers held by Auckland Museum, Bourne refers
to a camera he used that was ‘especially altered to withstand
the great wind strain’, while also referring to the first Walsh
experiment ‘seven years ago’ (either the 1910 construction of
the Walsh Brothers’ plane or its inaugural flight on 5 February
1911).17 Altogether, Bourne could well have taken the first aerial
photo in New Zealand but there are perhaps two scenarios for
how things played out. On one hand, with Bolt being the pilot,
it seems likely he would have taken photos and proudly shown

Below: An aerial camera being handled with care by Air Force staff (ATL, WA-21486-G, 1939).
Right: Airmen loading an aerial camera into a Vickers Vildebeest (RNZAF, HbP117, 1938).

116 117
 Hand-coloured photography has had a number of applications over time. New Zealand’s early tourism drive was promoted internationally using glass lantern slides (left, collection of Barry Hancox) and
pocket-sized hand-coloured photos of attractions in different cities (above). Hand-coloured slides were also used extensively, over decades, in cinema advertising (below).

of making photographs in a process that was able to represent therefore, much to gain from hanging on. Not long after the
natural colours’.41 However, Mitchell notes that, despite the autochrome came along, an article noted that ‘the interest
enthusiasm for the process, ‘there are few recorded uses … and recently attracted to the various forms of colour photography
it seems to have remained largely within the realm of amateur has in turn revived interest in the hand colouring of
photographers and the camera club movement. The inability to monochrome prints’.43 The article went on to describe the ins
reproduce images, … alongside the awkwardness of viewing the and outs of colouring photos to further entrench interest and
plates with an illuminated light source, hindered the popularity help readers master the craft.
of the process. … [That] there are so few examples held within
public collections in New Zealand is perhaps a combination of This was just the start of an enduring debate about, in effect,
several factors, among them the fragility of the glass plates and a ‘real’ and ‘unreal’ colour. ‘Some photographers believed that
reluctance to address photography from the Pictorialist era as a to artificially colour a photograph was to alter its truth-telling
serious art form.’42 nature and was considered blasphemy to the profession.
Artists saw colouring photographs as an uncreative way to
The arrival of colour through the autochrome, while exciting, create works of art, and they saw the downfall of traditional
was also far from the end of hand-colouring. Autochromes [fine art] portraiture in the rise of photographic works.’44
were not user-friendly and the colour, while an undisputed Proud proponents of colour photography, and also colour
breakthrough, was far from perfect. As in any market, the film, also put the alternative down: ‘The marvellous natural
incumbent – hand-colouring – also had much to lose and, colouring taken from life by the camera, not hand tinted or

130 131
136 137
 Leo White photographed a number of important aviation milestone events in New Zealand, including visits of flying boats. Top: A Pan American Boeing 314 Clipper landing in Auckland (Private collection,
Negative WA-00322-G, 1940). Below and left: Aviation-related hand-coloured photos held in MOTAT’s collection (Negative for left image: WA-00324-G, ATL, 1938, Lockheed Model 10 Electra
monoplane). Following pages: Whites’ ‘photographic print price list – May, 1982’, with detailed information about colouring and ordering options (Collection of the Stewart family). A third owner of Whites,
Air Logistics (NZ) Ltd, took over in late 1988. The sale of Whites’ hand-coloured photos came to a final close in about 1998, running for a lot longer than many people have assumed.

how long the service ran. Based on various threads, it seems the these scenes over and over for 20 years. Their popularity never
service pertained mainly to the Auckland area, and petered out diminishes. Why? The secret is that every one is placid, restful;
around 1960 or shortly thereafter. Clyde Stewart’s notes recorded no angry skies, no arty approach. All were taken just as anyone
that it kept the team of colourists busy ‘for a few years’.9 Research would see them from the roadside or some popular vantage
by Halena White, based on a 1998 interview with Stewart, point.’11 One of White’s obituaries noted the ‘special and
recorded that the farm photos were ‘only in selected areas – Bay understandable affection’ he carried for these photos, ‘which
of Plenty, Auckland and Northland, because it was getting too he sold by the thousand. Like a good showman, he thoroughly
expensive to fly up and down the country, and gradually … they understood the principle: ‘Never change a hit’. He used to say,
concentrated more on Auckland’.10 It seems plausible that the ‘I don’t need to market more; these pay the rent’.’12
farm photos helped build the hand-coloured side of the business
but became, relatively speaking, commercially unattractive once As discussed in Mr Aviation, such comments could be construed
the broader scenic work – holding wider appeal and without as White having a photographic philosophy acutely driven
the need for direct marketing in sparsely-populated rural by commercial gain (with different views on whether that is
communities – had built up sales speed. ‘good’, ‘bad’ or somewhere in between). It seems more likely,
however, that White’s love for photography came first, with a
Whites scenic work was epitomised – and made most popular calm confidence that profit would follow passion. None of the
– by the ‘Scenic Series’, a collection of Leo White’s photos that commentary on White’s career suggests a ruthless approach
were hand-coloured and a long-running commercial success. to commerce and, instead, paints a picture of a convivial
White explained in 1965 why he felt these photos were so entrepreneur. Unlike earlier in his career, White was also his own
popular: ‘Of the 60,000 views in our reference library, 18 master. The fact that there were ‘days of waiting’ to capture the
scenes are forever in demand. The public has been choosing perfect wave for Kaikoura Coast (p. xx) supports this view.13

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 The photography of Whites Aviation has received relatively sparse attention in various histories of New Zealand photography. In 2015, greater recognition was received in Te Papa’s publication New Zealand
Photography Collected. Whites’ Queenstown featured on the title page of the book (above, images courtesy of Te Papa Press), and was also used at scale in an article profiling the book in the Herald. Whites
photos have continued to have a presence in popular culture in multiple ways, including in cafes. A large version of Queenstown hangs in Vudu cafe in Queenstown (left, image courtesy of Paul Green), while
Replete in Taupo has made an extensive collection of Whites images an inherent part of its café culture.

be downgraded as a painter who had dabbled in this somewhat given the extent of photography carried out by Clyde Stewart.
despised field’.5 Even by the late 1960s, ‘only one art gallery in The choice of attribution to White, and not Whites Aviation,
the country [included] photographs in its art collection, and also seems purposeful for him to join the 19 other individuals
that [was] the Sarjeant Gallery in Whanganui’ – and even then named; a choice that speaks to the awkwardness within art
the photographic collection was the result of gifts.6 Richard histories of crediting companies, even before consideration
Thomson has reported that Auckland Art Gallery ‘held its of whether colourists should share the stage. The image is
first exhibition devoted to photography only in February 1957, referenced ‘1940s’, though a search of the Whites Aviation
displaying the work of Brian Brake. The National Art Gallery collection confirms it was taken in October 1950.13
did not begin to collect photographs until 1976.’7
The biggest breakthrough for hand-colouring came in 2015 with
Published histories of New Zealand photography have tried the publication of New Zealand Photography Collected by Athol
to make up for lost time. And with lots of ground to cover, it’s McCredie, a senior photography curator at Te Papa Tongarewa.
no surprise that hand-colouring has only featured in a minor The book used Whites’ Queenstown (1950) as the double-page
way. The histories by Knight8 and Main and Turner9 feature no title image (above), along with inclusion of other hand-coloured
hand-coloured photographs and only give fleeting reference images by Whites (Mackenzie Country), Spencer Digby and
to hand-colouring in their text. Paul Thompson included the National Publicity Studios. There was also accompanying
Whites’ Clearwater (19xx) in New Zealand: A Century of Images; commentary for those images, such as regarding the enduring
one of four hand-coloured images in the 100-year survey significance of hand-coloured portraiture noted earlier in this
(during which colouring was prime content). Eggleton also essay. In profiling the book, the Herald in it’s Canvas magazine,
featured Clearwater, with a short commentary about the Whites’ reproduced the Queenstown image in large format – another
colouring craze, along with three other fleeting references to major public outing for Whites – and the photo sits atop the
hand-colouring.10 These cameo published outings for hand- article online.14 The album that contains the image was also
coloured photography (and Whites Aviation) are noteworthy displayed in the book’s accompanying exhibition at Te Papa
but, in the context of both the publications and significance Tongarewa.15 It is noted that this album was likely produced
of hand-colouring in New Zealand photographic history, as a special one-off promotional aide or bespoke gift, as
extremely modest. Whites never produced a publication of hand-coloured
photos (even as prints).
While not a published text, the New Zealand History website
includes a collection of 20 photographs that ‘sketch out a history While the broader exposure accorded to hand-colouring
of photography in New Zealand’;11 a collection that includes by McCredie is most important, he also underscored the
Waikato River, a hand-coloured image by Whites Aviation.12 importance of Whites Aviation: ‘In the 1950s and 60s, the
Compiled by photographer Andy Palmer, the collection company’s hand-coloured scenic images … were a familiar item
is caveated as not being ‘comprehensive or objective’ but, in homes and corporate foyers. Their popularity established
nonetheless, Whites is part of the club. Waikato River is attributed the Whites “look” as the standard photographic representation
to Leo White, which is probably correct but by no means certain of New Zealand landscape through the 1950s – so much so that

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Whites Aviation made the big screen in 2016, with multiple hand-coloured photos used in a dining room scene in Mahana (above, courtesy of Jump Film & TV). Whites’ photos have also been used in a large
number of TV advertisements, as well as music videos. Singer Brooke Fraser used Mt Aspiring as a background prop in her 2009 hit Something in the water (below, courtesy of Sony Music). Right: A detail of
Whites’ Mt Aspiring (1947, 500x750mm (detail shown), Negative WA-08857-G, Collection of Peter Alsop). Another influence of hand-colouring in contemporary culture is digital colouring, a worldwide
trend that gained profile and momentum through adding colour to important historic events recorded in black-and-white (see examples on the following pages). Digital colouring has also been used for book
covers (below: images courtesy of Penguin Random House and Te Papa Press).

Even without manipulation, Whites’ hand-coloured photos Ihimaera was at the centre of another outing for colouring in
have enjoyed, and continue to enjoy, extensive display in 2016, being the cover of his memoirs, Maori Boy: a memoir of
popular culture. Besides display in public establishments like childhood (below left).54 The book went on to win the general
cafes – including Replete Café in Taupo that has partly defined non-fiction category of the 2016 New Zealand Book Awards,55
its reputation through a Whites’ display – the photos have ensuring wide exposure of the coloured image of a young
featured regularly in television commercials, including for Ihimaera being walked down the street. The cover of Bronwyn
Subway, Mighty River Power, Sealord, TV2, Speights, Tui, Kiwi Labrum’s Real Modern: Everyday New Zealand in the 1950s and
Bacon and Hyundai.53 Whites photos have also had important 1960s56 also employed colouring to further liven a mid-century
outings in other popular media. Leo White’s photo of a lazy Ans Westra photograph (below centre).
wave, Kaikoura Coast, hung in Dave Dobbyn’s 2015 music video
Tell the World (p. xx), while Brooke Fraser chose Mount Aspiring These covers, while oozing a hand-coloured aesthetic, were
(right) for prominent use in her 2009 video hit Something in the actually digitally-coloured on a computer. This worldwide
Water (below right). In 2016, multiple images graced a family trend – through sites like Dynamichrome,57 Past in Colour,58
dining room in Lee Tamahori’s film Mahana (above); Whites’ History in Color59 and Colorized History60 – underscores the
majestic Te Aroroa, a sweeping pohutukawa-framed bay, hanging pervasive and durable nature of people’s propensity to enjoy
prominently above the mantelpiece as the perfect image to help a hand-coloured aesthetic. Significant world events of the past
bring Witi Ihimaera’s emotional East Coast tale to life. are now being analysed or enjoyed in colour and, in the case

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 At that time, Te Papa in partnership with Air New Zealand
launched the exhibition Air New Zealand 75 Years: Our nation.
The world. Connected, a celebration of Air New Zealand’s
BLK VERSION operation for 75 years.68 In addition to the cockpit of a Boeing
737 plane, a billboard-sized coloured photo was installed
outside Te Papa: a Whites Aviation photo of a flying boat
(left). The photo symbolised an important event, ‘reflecting
Air New Zealand’s origins, starting in Mechanics Bay on the
Waitemata Harbour’.69 The image was digitally-coloured70 –
though easily mistaken for a hand-coloured version – and used
by Air New Zealand in some of its own exhibition marketing.71
The coloured photo also decorated the in-flight cup (below)
used by Air New Zealand on domestic flights throughout 2015
and 2016, a close encounter with Whites Aviation for hundreds
of thousands of people. The exhibition at Te Papa was attended
by 388,000 people, ‘one of the most popular in Te Papa’s
history’,72 and at the time of writing was proving popular at the
Auckland Museum – 25,000 attendees in one week alone73 –
ahead of a third showing in 2016/17 at Canterbury Museum.

IN THE END
From its opening in 1945 to produce a magazine, the
journey of Whites Aviation has been remarkable. Leo
White’s landmark decision paved the way for a significant
contribution to the advancement of aviation and photography
in New Zealand. Their combination – aerial photography
– also helped social and economic development across the
country, a boost to New Zealand far beyond the scenic photos

A major contemporary outing for Whites Aviation started in December 2014 with the exhibition
of Air New Zealand 75 Years: Our nation. The world. Connected. A partnership between Te Papa and
Air New Zealand, the exhibition attracted 388,000 visitors, before touring to Auckland Museum
and Canterbury Museum. As part of an entry display involving the cockpit of a Boeing 737 plane,
a gigantic mural of a TEAL flying boat (left) symbolised Air New Zealand’s origins, starting in
Mechanics Bay on Auckland’s Waitemata Harbour. The same image was used on an in-flight cup
throughout 2015 and 2016, a close encounter with Whites for hundreds of thousands of people.

196 197
200 201
 Milford Sound Milford Sound
1955, 400x500mm 1956, 500x750mm
Collection of Peter Alsop Collection of Peter Alsop
Negative WA-39507-F Negative WA-41571-F

206 207
 Kyeburn (Otago) Wairoa River
1926, 380x685mm 1953, 560x1010mm
Collection of Peter Alsop Collection of Peter Alsop
Negative WA-58738-F Negative WA-32810-F

Avon River Lake Hayes Cottage

1955, 560x1010mm 1954, 380x685mm
Collection of Peter Alsop Collection of Peter Alsop
Negative WA-38366-F Negative WA-35533-F
226 227
 Auckland Wharves Mataura Paper Mill, Southland
1963, 300x400m (approx.) 1949, 750x1000mm (approx.)
Private collection Matuara Historical Society
Negative WA-59500-F Negative WA-21010-F

252 253
 Te Anau Lake Wakatipu
c.1950, 385x485mm 1947, 285x370mm
Collection of Peter Alsop Collection of Peter Alsop
Negative unknown Negative WA-08967-G

280 281
 Virginia Lake, Whanganui Lake Wanaka
c.1975, 375x580mm (approx.) 1954, 285x370mm
Collection of Chris Johnston (Replete) Collection of Museum of Everyday
Negative unknown Negative WA-35658-F

284 285
310 311