Athol Shmith

Athol Shmith
Born	Louis Athol Shmith 19 August 1914 Melbourne, Australia
Died	21 October 1990(1990-10-21) (aged 76)
Nationality	Australian
Known for	Photography
Spouse	Patricia Tuckwell

Louis Athol Shmith (19 August 1914 – 21 October 1990), was a celebrated studio portrait and fashion photographer and photography educator in his home city of Melbourne, Australia, and contributed to the promotion of international photography within Australia as much as to the fostering of Australian photography in the world scene.

Early life

Shmith was born in Melbourne in 1914 and came from a comfortable and cultured middle-class family; his father was a respected chemist and a fine pianist. Athol Shmith played the vibraphone and considered music as a possible career. His father gave him a camera as a teenager and what was a hobby became a profession in his late teens when Shmith, who had an interest in theatre and played at charity performances, was asked to take the publicity photographs and stills for a show. He saw there was a career in his former hobby and, supported by his family, established a studio in St Kilda. For the first five years he specialised in theatre work and society and wedding portraits.

Collins Street Studio

File:Vivien Leigh 1948.jpg

Vivien Leigh by Shmith, 1948

In 1939 he moved to a studio in the Rue de la Paix building at 125 Collins Street, run with the assistance of his brother Clive, and sister, Verna. Shmith first made his reputation with society weddings and portraits, but his professional break had come in the early 1930s when he gained the contract to take portraits of visiting celebrities for the newly formed Australian Broadcasting Commission. Shmith’s work expanded to include a range of commercial advertising and illustration and appeared in local society magazines. He exhibited his works in photographic salons at home and abroad, gaining a Fellowship of the Royal Photographic Society in 1933. At hte age of just 19 he was appointed Vice-Regal Photographer in Melbourne. He long held the contract for stage and publicity photography for theatre producer J.C. Williamson .

Influenced in his early career by the soft impressionistic style of turn-of-the-century art photographers, Shmith later embraced the clearer light, bolder compositions and design emphasis of art decomodernism which he admired in the work of (Sir) Cecil Beaton, Edward Steichen and George Hurrell. By the late 1930s, he was seen as representing a new modern style of work. After World War II Shmith embraced the "New Look" and the spirit of post-war recovery in fashion illustration, becoming the most respected professionalin the field in Australia.

Athol Shmith was urbane, charming and witty and also madcap. Shmith was less concerned with the gravitas and moral exemplar of ‘greatness’ than with the imparting of elan, style and creative spirit. He was fascinated with his subjects rather than in awe of them. Shmith, who prided himself on his skill in lighting, had learned much from the model of European modernism and the quirkiness of surrealism. He was also indebted to the top-lit and back-lit glowing ‘Hollywood lighting’ style of portraiture popularised by Californian photographer George Hurrell in the 1920s and 1930s. He described his portrait of actress Vivien Leigh in costume as lit by his ‘inky dinky light’, a top spotlight diffused by tracing paper. Shmith treated his female sitters and models as princesses.

Contributions to Photography in Australia

Throughout the 1960s Shmith remained energetic and dynamic in his development of fashion work. By the close of the decade Shmith began to take on roles in photographic heritage and education. In 1968 he helped to establish a photography department at the National Gallery of Victoria and in 1971 closed his business to take on a new role as head of the Photography Department at Prahran College of Advanced Education, on the same Prahran campus as is now occupied by Swinburne University of Technology. He taught there with his business partner John Cato and the film-maker Paul Cox until ill health caused his retirement from the College in 1979, Shmith was a significant support to the rising generation of documentary and artist photographers such as Sue Ford, Carol Jerrems and Bill Henson whom he closely mentored. Shmith’s work was largely based in his home city of Melbourne.

Legacy

Athol Shmith’s photographs created a world of grace, glamour and allure. In later life Shmith undervalued his own commercial work but, under the new wave of interest in photography as art, Shmith’s work was collected by the major art museums in the 1970s and 1980s and he had a retrospective in 1977 at the Australian Centre for Photography. He was made a member of the Order of Australia in 1981. A small monograph on his work was published in 1980 and a more substantial one was written by curator Isobel Crombie and published in association with his major retrospective at the National Gallery of Victoria in 1989.

Personal life

From 1948 to 1957 he was married to Patricia Tuckwell (sister of Barry Tuckwell and future wife of Lord Harewood, 1st cousin to Queen Elizabeth II). Their son Michael Shmith, a senior writer with The Age newspaper, was born in 1949.

External links

• Pictures at Culture Victoria
• Melbourne post-war photography State Library of Victoria, Australia