PHOTOGRAPHY IN MALAYA

HISTORY OF PHOTOGRAPHY IN MALAYA

The history of photography in Malaya (comprising modern-day Malaysia and Singapore) is a fascinating journey from the daguerreotypes of mid-19th-century travelers to the commercial postcard empires of the early 20th century.

It serves as a visual timeline of British colonization, urban development, and the ethnographic mapping of the region.

1. The Early Pioneers (1840s – 1860s)
Photography arrived in Malaya shortly after its invention in Europe (1839), primarily through port cities like Singapore and Penang.

• Jules Itier (1844): A Frenchman who produced the earliest known surviving photograph of Singapore—a quarter-plate daguerreotype of the Boat Quay area.
• Gaston Dutronquoy: A hotelier in Singapore who, in 1843, became one of the first to advertise professional daguerreotype portrait services.
• The Sachtler Era (1860s): As you noted, Sachtler & Feilberg were pioneers in the 1860s. They moved beyond simple portraits to document the raw landscapes of the Malay Peninsula and the first urban developments in Penang.

2. The Commercial Boom (1870s – 1910s)
This period saw the rise of established "European" studios that catered to colonial administrators, royalty, and the growing tourism market.

• G.R. Lambert & Co. (1867–1918): The undisputed giants of the era. With offices in Singapore, KL, and Medan, they created a massive visual archive of the region.
• August E. Kaulfuss (1883–1908): Based in Penang, Kaulfuss was a major rival to the Singapore-based firms, specializing in scenes of Northern Malaya and the Siamese border.
• C.J. Kleingrothe: A German photographer who worked with Lambert before setting up his own practice. He is famous for high-quality albums documenting the tobacco and rubber plantations of the era.

3. Ethnic and Ethnographic Documentation
During the late 19th century, photography was often used as a tool for anthropology.

• The "Colonial Gaze": Photographers focused heavily on "types" of people—Malay sultans, Chinese coolies, Indian laborers, and Orang Asli. These were often sold as postcards to Europeans as "curiosities."
• John Thomson: The famous Scotsman spent years in the 1860s traveling through Malaya and Siam, producing some of the first "social documentary" style images that focused on the daily lives of the local population.

4. The Rise of Asian Studios (Early 1900s)
As the technology became more accessible, local and Japanese photographers began to dominate the market.

• Japanese Studios: By the 1910s, many major towns had Japanese-run studios (e.g., M.S. Nakajima). These studios were highly popular for family portraits.
• The Chinese Influence: Studios like Yong Fong (1908) and Lee Brothers became staples for the local merchant class, blending Western photographic techniques with local aesthetics.

5. Modern Transitions (1920s – 1950s)

• Amateur Photography: The introduction of the Kodak Brownie and roll film shifted photography from a specialized trade to a hobby for the wealthy elite and middle class.
• The Emergency Period (1948–1960): Photography took a political turn. The British colonial government used it as a propaganda tool (e.g., documenting "New Villages") to show the "success" of their resettlement programs during the conflict with communist insurgents.

Key Photographic Processes Used in Malaya

Era	Technology	Characteristics
1840s-1850s	Daguerreotype	Unique image on silver-plated copper; mirror-like.
1860s-1890s	Albumen Prints	Used egg whites to bind chemicals; classic sepia tone.
1890s-1920s	Silver Gelatin	Shorter exposure times; enabled the "postcard" boom.

SACHTLER & FEILBERG

In 1862 (though some records point to 1864), the firm Sachtler & Feilberg (often misspelled as Feilbert) established one of the first professional photography studios in Penang, then part of the Straits Settlements.

This partnership is a cornerstone of Southeast Asian photographic history. Here is a breakdown of the firm’s significance and the individuals involved:

The Partnership

The studio was a collaboration between two European photographers who played a vital role in documenting the early colonial era of Malaysia and Singapore:

• August Sachtler: A German photographer who traveled to the Far East. He is often credited with introducing high-quality commercial photography to the region.
• Kristen Feilberg: A Danish photographer who worked extensively across Sumatra, Singapore, and Penang. He later became famous for his ethnographic and landscape photography across the Dutch East Indies.

Kristen Feilberg

Historical Significance

• First in Penang: They are widely recognized as having opened the first permanent photo studio in Penang. Prior to this, photography in the region was mostly handled by traveling practitioners or hobbyists.
• Documentation of the Straits: Their work provided some of the earliest visual records of Penang's urban development, including views of Beach Street, the Penang Waterfall, and various government buildings.
• Ethnographic Work: Beyond landscapes, they were known for "type" photography—portraits of the diverse local populations, including Malays, Chinese merchants, and Indian laborers. These images were often sold as souvenirs to European travelers.
• Technique: They utilized the albumen print process, which was the standard of the time, producing sharp, sepia-toned images on thin paper mounted on cardstock.

Legacy

The studio eventually dissolved as the partners moved on to other ventures or locations (Feilberg notably worked in Singapore and Sumatra later in the 1860s). However, original prints from Sachtler & Feilberg are now highly prized by collectors and historians.

Major collections of their work are held by:

• The National Museum of Singapore
• Leiden University Libraries (which holds the "Souvenir of Penang" album)
• The British Library

G.R.LAMBERT & CO. (1867)

If Sachtler & Feilberg (1864) laid the groundwork for photography in the region, G.R. Lambert & Co. (established 1867) was the firm that turned it into a commercial empire.

By the late 19th century, G.R. Lambert & Co. was the most successful photographic studio in Southeast Asia, creating what is now considered the "definitive" visual record of colonial Malaya.

1. Establishment and Expansion

The firm was founded by Gustave Richard Lambert, a photographer from Dresden, Germany. While he opened his first studio in Singapore in 1867, the business truly flourished under the management of Alexander Koch after Lambert left for Europe in 1885.

• Regional Presence: At its peak, the company had branches in Kuala Lumpur, Bangkok, and Deli (Medan, Sumatra).
• The "Largest in the East": The studio maintained an inventory of over 3,000 subjects, covering Singapore, the Malay Peninsula, Borneo, Siam, and Sumatra.

2. Royal and Official Status

The firm was highly prestigious, holding several "by appointment" titles that appear on the back of their vintage prints:

• Photographers to the King of Siam: They documented the royal court of King Chulalongkorn (Rama V).
• Photographers to the Sultan of Johor: They captured the modernization of Johor under Sultan Abu Bakar.
• Official Records: They were the go-to firm for the British colonial government, photographing major events like the Federal Conferences (Durbar) of 1896 and 1903, which were pivotal meetings of the Malay Rulers.

3. The "Golden Age" of Postcards

Around the turn of the century (1900–1910), the firm pivoted toward the massive consumer demand for picture postcards.

• They were reportedly turning over 250,000 postcards a year.
• These postcards popularized images of "Old Malaya" globally, featuring idyllic village scenes, bustling ports, and diverse ethnic "types."

4. Key Differences from Sachtler & Feilberg

While Sachtler and Feilberg were pioneers who documented the early, raw landscape, G.R. Lambert & Co. operated in an era of high colonialism. Their work is often noted for:

• Artistic Portraiture: Utilizing elaborate Victorian studio backdrops and props.
• Topographical Precision: Detailed large-format views (8x10 inches) of developing cities like Kuala Lumpur and Singapore.
• Branding: Their photographs are easily identified by a dry-stamped logo usually found in the lower right-hand corner.

5. Closure

The studio survived for over 50 years but ultimately closed its doors in 1918. The rise of amateur photography (spurred by the Kodak camera) and the economic disruption of World War I made large, high-overhead professional studios less viable.

Reference:

1. Free Malaysia Today: Revisiting Old Malaya through the lens of G R Lambert & Co. 
2. Wikimedia Commons: Photography by G.R. Lambert & Co. from KITLV of Malaysia.
3. Wikipedia: Kristen Feilberg

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13 January 2026: 10.08 p.m