Flush with the exhilaration of discovering site KR12 and the ship’s bell, the team set to work the following morning (16 January) to document finds. John, Jacqui, Pete, Renee, Lee and Jules entered the water and conducted a baseline offset survey of the site, followed by detailed recording of the cannons and anchors. Jules then took close-up photographs of each anchor and cannon while Lee carried out a photogrammetric survey of these and other features, including the rudder hardware found in association with the bell. Continue reading
While the dive team was busy documenting sites KR10 and KR11 on the morning and afternoon of 14 January, the magnetometer team took advantage of the calm weather and sea conditions to run a survey along the outside of the entire Kenn Reefs system. The first area surveyed was along the outside fringe of the ‘foot and ankle’, with specific emphasis placed on detecting offshore components of known shipwreck sites (such as KR1, KR2 and KR4). Because sea conditions were calm, the team also ‘deployed’ Lee on a tow-board behind the magnetometer.
The tow-board (also known as a ‘Manta-board’) is a flat, hydrodynamic-shaped board with handles that is connected to a towing vessel with a length of line. The person using the tow-board grips the handles, is pulled through the water at low speed, and can visually search the seabed for shipwreck material. Most tow-boards are designed so that their users can turn, dive and ascend through the water column at will, simply by changing its orientation with the handles. Lee was positioned 10 metres behind the magnetometer in the hope he might be able to visually spot and identify any anomalies it detected.
One of the major goals of the Kenn Reefs expedition was to find Hope, the small cutter built from material salvaged from Bona Vista, and later lost during the rescue of the brig’s crew. According to historical accounts, two boats were sent from the rescuing vessel (the ship Asia) to Observatory Cay, where they recovered most of Bona Vista’s crew, the brig’s allocation of specie (gold and silver coin brought aboard Bona Vista for trading purposes), and brought them aboard Asia. A skeleton crew of thirteen and the personal belongings of all of the brig’s officers and men remained aboard Hope, as did unspecified salvaged goods valued at £1,000. However, as Asia got underway and took Hope under tow, tragedy struck:
While the magnetometer crew conducted its initial search west of Observatory Cay, a second team embarked upon a metal detector survey of the cay itself and searched for evidence of survivor camps associated with the wrecked vessels Bona Vista and Jenny Lind.
Yesterday I visited a sculpture being made at a fine art casting foundry on Sydney’s North Head at Manly. The work is being crafted using the lost wax technique, a traditional, ages-old method that will result in a timeless bronze. Each visit and each stage of the moulding and casting process brings surprises, most recently forms and colours that evoke the strangeness of a cast of characters from B-grade 1960s schlock-horror monster films such as Godzilla and even, in spirit, the hyper-real gigantic 50-foot woman.
In the 1890s, young photographer Samuel (Sam) John Hood developed an excellent strategy for a lucrative business in ship and crew portraits. He would hitch a ride on a tugboat to photograph sailing vessels ready to enter Sydney Harbour and, with his portfolio under his arm, would then board the ship and convince the captain to let him sell photographs to the crew – with the promise of a similar oil painting for the captain or a free portrait. With the captain’s assent, Hood’s bill for photographs was deducted from the crew’s wages, so they didn’t have to ‘pay’ a penny upfront.
He would then rush back to his city studio or his home studios in Balmain and, using a trick of the trade, paint the sails (based on the particular ship’s rigging plan) onto the photograph of the vessel, which he would then rephotograph and present to the crew as postcards. Apparently, few sailors saw though his retouching techniques (often also applied by skilled marine artists such as Walter Barratt, Reginald Arthur Borstel, George Frederick Gregory and John Allcot).
The turn of the 20th century marked the end of the sailing ship era and the growing dominance of steam vessels. This had implications for Hood’s business, as steamship crews were less inclined to request photographs of their vessels.
… By the 1920s, Hood had moved from ship postcards to the newspapers’ social and sport pages. With an excellent eye for everyday subjects, he was a leader in the early development of photojournalism.
The entire collection of the Samuel J Hood studio is enormous – of about 33,000 images, the museum holds more than 9,000, primarily related to maritime scenes. The industry around, and activity on, Sydney Harbour during the busy early to mid-20th century remained some of Hood’s favourite subjects. His iconic photograph of the troopship Queen Mary in 1940 (pictured) captures the drama of manoeuvring a large vessel on the harbour.
Curator, Environment, Industry and Shipping
An excerpt from 100 Stories from the Australian National Maritime Museum. Available as a free eBook for iPad from the iBookstore or hard copy versions available for purchase through our museum store.