Louisa Elizabeth How

Louisa Elizabeth How was the first woman photographer in Australia whose works survive. Louisa Elizabeth How was born in England in 1821 and married James How, a labourer from Malvern, Worcestershire, they and their two sons and Edward arrived at Port Phillip aboard the Royal George on 28 November 1849 under the assisted passage scheme. In Melbourne James How was employed by Joseph Raleigh, a merchant and wharf owner and by 1857 was listed as one of the principal directors of How, Walker & Co. a merchant and shipping business started by a relative, Robert How. The family resided at'Woodlands', next door to the present-day Admiralty House on Kirribilli Point, North Sydney. How, whose surviving output is found in one album made over only two years, was evidently an accomplished and enthusiastic artist whose photographic knowledge was derived, historians surmise, from any of several possible sources. Most she read the several extensive and instructive articles on the processes of photography that she herself used, in her copy of the English Art-Journal from vol.12, of 1850.

Robert Hunt on pages 38ff of the Art-Journal discusses the advantages of negatives on glass and decries the patent laws preventing development in England as rapid as that in France in photography. Louisa How may before her migration have been taught the medium at professional studios in England, but more she learned from William Hetzer to make salted paper prints from half-plate glass negatives for which the Sydney merchant was known, for which he was the supplier of materials and the printer of his clients' negatives, including those of E. W. Ward and Robert Hunt. There are plausible claims that it was Hetzer's wife Thekla who, from 1850 assisted him at his studio at 15 Hunter Street, the first woman photographer in Australia, but no works known to be hers have survived. In the same month of 1858 that the earliest photographic exhibition was held in Australia was mounted at the Sydney Philosophical Society, How made portraits of her guests on Christmas Day and Boxing Day at Woodlands, she set up a makeshift studio on her verandah, using furniture and props including a stereoscope and stereo cards, so as to shorten exposure conditions with brighter lighting, but make it appear that the pictures were made indoors.

The resultant prints are amongst forty-eight salted paper prints from the period October 1857 to January 1859 in her only surviving album titled and signed, now held in the National Gallery of Australia, Canberra. Her varied subjects include visitors to Woodlands, appearing relaxing in conversation and dining, several in groups and some of those more formal, the rest being individual portraits. Photography historian Gael Newton admires How's "fine sense of composition" and Judy Annear notes that her portraits are "most compelling and yet relaxed, outdoor and engaged," while Professor Martyn Jolly argues that they are rare in that they "take us so into the bodily interrelationships of colonial Australians."As well as portraits, How made views of Sydney Cove, Government House, Campbell’s Wharf and around her own house and garden and its Harbourside boatshed. The Hows remained in Woodlands until about 1866 moved to'Calingra' in Woollahra when, due to losses, the How merchant company had ceased business.

It appears. Her husband James died in about 1869, a year she relocated to Heaton in Woollahra moved several times before her death in 1893 at the age seventy-two. Masterpieces of Australian Photography, Josef Lebovic Gallery, Kensington, 24 Jun 1989–22 Jul 1989 Selected recent acquisitions, 1989, Art Gallery of New South Wales, Sydney, 05 Sep 1989–17 Dec 1989 Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 08 Mar 1995–04 Jun 1995 The photograph and Australia, Art Gallery of New South Wales, Sydney, 21 Mar 2015–08 Jun 2015 Art Gallery of New South Wales, Sydney, NSW, Australia National Gallery of Australia, Canberra, ACT

Jeevan Jyoti (1976 film)

Jeevan Jyoti is a 1976 Bollywood drama film directed by Murugam Kumaran. It is a remake of Telugu film Muthyala Muggu. Vijay Arora - Shekhar Bindiya Goswami - Laxmi'Munni' Rakesh Pandey - Harbans A. K. Hangal - Raja Kamlakar Dinesh Hingoo - Raja's Munim Om Shivpuri - Gopaldas Chaurasia Dulari - Ratna G. Chaurasia Bhanumati - Lata G. Chaurasia Satyendra Kapoor - Somnath Beeshma - Bhagwan Shri Hanuman Sulochana Chatterjee - Pratima Jayamalini - Sudha Ritu Kamal - Sundari Baby Mun Mun - Shanti Master Raju - Ramu Anjan Srivastav - Mohan's friend Director - Murugan Kumaran Story - Mullapudi Venkata Ramana Producer - M. Balu, Saravanan M. Editor - R. G. Gope Production Company - A. V. M. Productions Distributors - Rajshri Productions Music Director - Salil Choudhury Lyrics - Anand Bakshi Playback Singers - Lata Mangeshkar, Kishore Kumar, Asha Bhosle, Usha Mangeshkar, P. B. Sreenivas Jeevan Jyoti on IMDb