member. Photography During her time in Beijing Morrison took many photographs of the old city and its people, temples and markets and continued to record the environments and cultures of the countries in which she lived. Many of her subjects were disappearing as she photographed them; Chinese civilisation under Japanese occupation and before Communism; Hong Kong transitioning from the irreversible impact of WW2 on its traditional cultures; and the vanishing Ibans and their long houses in Sarawak. In her student years and for some of her Chinese work she used a Linhof Satzplasmat 9 x 12 cm sheet-film camera. Until she adopted colour in the 1950s, she made exclusively black and white photographs with her medium-format Rolleiflex and Rolleicord, with standard lenses, and carrying as extra equipment only a tripod and set of lens filters. She rarely used flash or added lighting, and then only using flash powder. She printed her own work and in Hong Kong she sold postcards of her views of city, mass-printed in her darkroom. In Sarawak, where the couple were without mains electricity, she had to power her enlarger lamp from car batteries, and she had improvise ways to protect her negatives from mould in the tropical humidity. Reception Michael Tomlinson reviewing in The Age Morrison's A Photographer in Old Peking notes its 'elegant architectural studies of temples and monasteries which have since been damaged or destroyed' and 'her great talent...for human interest studies...[from] a vanished world, alien and unfamiliar. And yet the faces peering out at us from the Peking market in the '30s are...human and appealing...' Claire Roberts considers that "through her photographs of architecture, streetscapes, craftsmen, street vendors and customs, Morrison creates her own image of China. By focusing on labour-intensive traditional crafts and skills, old buildings, religious sites and ancient rites and practices she chooses to record the life and look of 'Old Peking'. In much the same way that she chose to photograph the German folk festival, in China Morrison chose to focus on 'traditional' Chinese life and values rather than those of a 'modem', changing world. She was motivated to record aspects of a foreign culture that she felt was threatened by development. Anne Maxwell considers that Morrison's "two major books relating to her time in China...were aimed at capturing the 'Old Peking' that Westerners enjoyed reminiscing over, and they ignored the changing nature of the city, in...the poverty,