civil unrest and social conflict that resulted from the Japanese occupation." Nicholas Jose counters that; "When she styled herself A Photographer in Old Peking (1985), Hedda Morrison... implies more than a literal interpretation of those words. She finds herself, like a time-traveller, or a space-traveller, in a zone that has its own characteristics, in it but perhaps not of it, in Peking in the 1930s and '40s to record, with the signally modem technique of photography, the riches of a world that has existed proudly and splendidly apart from modernity, technology and Western civilisation and which will now only survive, tragically, in the records of the outsider...for Hedda Morrison being a photographer In Old Peking was more than an idle hobby. It was her role, her vocation." Edward Stokes writes; 'For Hedda Hammer the craft of photography was uppermost, and through the pursuit of its demands her image making matured in China. Her style was marked by an intuitive sensibility to light; strong, often challenging vantage points; and fine, carefully balanced compositions. Equally important was her natural rapport with people...[with] a particular affinity to Chinese and other Asians.' Graham Johnson in reviewing Hedda Morrison's Hong Kong in Pacific Affairs remarks that "the photographs are magnificent, although generally a little romanticized...a sensitively produced record, interpretation and ethnographic memoir of a Chinese place with global significance at a time that few now remember. No one except Hedda Morrison had the time, the skills and the facility to make permanent the memory of a time and place that no longer exist In reference to Morrison's portrayal of people, John Townsend reviewing her book Sarawak praises her "loving and capable account of the peoples of that country, illustrated by the author's own admirable photographs." Recognition In 1955, through the Camera Press agency which was handling her work, Edward Steichen saw Morrison's flash-lit photograph of a festive Dayak group in indigenous dress laughing with a young man in a western-style shirt and wearing a watch. He chose it for the section 'Adult Play' in the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million viewers. Subsequently, Morrison wrote two major books on Sarawak, Sarawak (1957) and Life in a Longhouse (1962). Legacy Exhibitions of her works have been mounted in Singapore, the United States, and in Australia by the Australian National University, Canberra, the Canberra Photographic Society, the Powerhouse Museum,