Geneva, Switzerland

Activists supporting Greenpeace, Stay Grounded, Extinction Rebellion, Scientist Rebellion and other climate groups are pulled away by security staff as they hold banners during a demonstration against private jets at an aviation convention

Photograph: Thomas Wolf/Stay Grounded/Reuters

The British Press Photographers’ Association has opened its annual exhibition, Assignments 2023 – The BPPA Exhibition, on London’s South Bank.

The event shows a curated selection of the top 100 photographs from BPPA members, providing an insight into the current state of press photography.

Five industry figures were selected as curators this year: photojournalist Phil Coburn, Talar Kalajian from Agence France-Presse, The Telegraph‘s Matthew Fearn, photojournalist Alan Crowhurst, and Freddie Sloan of Hello magazine.

They have put together a collection of images that capture stories from July 2021 to spring 2023, covering a wide range of subjects, from sports and entertainment to politics and protests, as well as portraits of royals, celebrities, and depictions of global events.

The BPPA, founded in the mid-1980s, says its mission is to uphold the highest ethical, technical, and creative standards within the industry, and that Assignments 2023 – The BPPA Exhibition reflects this continuing commitment.

The exhibition, which began on May 19, runs until Sunday.

Updated: May 23, 2023, 12:00 PM

Photographer James Hand snaps a photo in Thornton Park on Sunday, May 14, 2023. (VICTOR TAN)

Film photography is here to stay; in fact, the visual arts medium is thriving and has a resounding presence in the Central Florida area. It has, however, faced its fair share of trials. Whether it’s with the advent of digital photography via a DSLR (digital single-lens reflex camera) or a smartphone, or equipment prices dramatically increasing over recent decades, film photography has oftentimes been pushed to the wayside.

Thanks to local shops, labs and photographers, though, a local movement is keeping the art form alive.

Colonial Photo & Hobby General Manager Jacob Rausch said that over the last several years, he has seen film-photography sales doubled year over year. (VICTOR TAN)

Jacob Rausch is the general manager at Colonial Photo & Hobby, one of the few bastions for film-photography enthusiasts in Orlando. When he first started as a seasonal employee in 2003, he noticed the popularity of film photography was waning. In 2023, he has seen film-photography sales double each year for the last few years.

“It’s hard to say for sure what really is motivating [increased sales],” Rausch said. “I think, largely, it’s that film photography, in general, gives you a more limited set of pictures to work with, right? So, you have to stop and think about what you’re doing with each shot in a world where either your phone or even your digital camera creates a situation where you can kinda just take as many pictures as you want. It actually gives you something that you get a little bit more of a sense of worth out of it.”

For Hector Soto Molina, who works at Colonial Photo & Hobby in the film department, Orlando and its galleries can enhance the film-photography community by taking more risks.

“We got a lot of places that are sponsored by Orlando, so they’re limited on what they’re allowed to show,” Molina said. “… I think we do need more independent art galleries. Like, show a little bit more international, local — just a whole mixture … They need a fire [lit under them].”

That fire could be coming in the form of a new generation of film photographers who are starting the hobby at a time when film photography is undergoing its own renaissance. Photographer James Hand is encouraged by seeing new photographers opt for the more mechanical approach, as they carry the proverbial film-photography torch.

For Hand, who was born and raised in Orlando, the Central Florida photography scene is different from other cities. There’s a community that has served as a foundation for some of his friendships.

“I think Orlando is definitely growing, and everyone kinda supports each other, which is good because I think a lot of other cities may not be as supportive of other people’s work,” Hand said. “I have friends that I’ve known for six years or so that I wouldn’t have known them without dropping off my film [at Colonial Photo & Hobby] or just happened to run into them when we both had cameras.”

The much-anticipated second and final phase of the V&A Photography Centre in London will open its doors on 25 May 2023, becoming the largest space in the UK to house a permanent photography collection. 

Phase One of the museum’s Photography Centre was unveiled in 2018, with three galleries designed by David Kohn. This month sees the completion of the centre with an additional four galleries, designed by Purcell, and Gibson Thornley Architects. Two of the new rooms will be dedicated to global contemporary photography and commissions in rotating displays, while another space will focus on photography and the book, and a further, interactive gallery will explore the history of photography and the camera, spotlighting various approaches to process and presentation. 

The opening displays will include recent acquisitions shown at the museum for the first time, among them works by Liz Johnson Artur, Sammy Baloji, Vera Lutter, Tarrah Krajnak and Vasantha Yogananthan, as well as a monumental photographic sculpture by Noémie Goudal. Highlights include Jo Spence’s seductive, snake-like Hoover, Vinca Petersen’s flaming Riot Girl (1998), Hoda Afshar’s extraordinary landscapes, and Paul Mpagi Sepuya’s ever-intriguing explorations of the relationship between subject and camera. 

Two major new commissions will also be unveiled, with a photographic series by Indian artist Gauri Gill, and work by British media artist Jake Elwes, the first in a series of commissions supported by the Manitou Fund. The first themed exhibition ‘Energy: Sparks from the Collection’, explores how all photographs require some form of energy to exist, and a smaller display, ‘How Not to Photograph a Bulldog’, features dog photography manuals from the Royal Photographic Society Library. 

The V&A’s relationship with photography dates back to the 1850s, when early pioneers in the medium were shown. Since then, it has amassed one of the largest and most varied collections in the world, holdings which will now be on public view within the completed centre. ‘Photography lies at the heart of the V&A. The museum has collected photography since 1852 and continues to acquire the best of contemporary practice,’ commented Marta Weiss, V&A senior curator of photography and lead curator of Phase Two of the Photography Centre. ‘As photography plays an ever-increasing role in all our lives, the expanded Photography Centre will be more relevant than ever. We look forward to welcoming visitors to explore the medium’s diverse histories and enjoy our world-leading collection.’

The completed V&A Photography Centre will be open to the public from 25 May 2023. vam.ac.uk

The last 12 months were again difficult for the camera industry as it contended with the various fallout effects of the Covid-19 pandemic – particularly parts and staff shortages that resulted in serious supply chain issues for most manufacturers. In many ways then, the winners in this year’s TIPA World Awards – especially those who collected multiple accolades – are an indication of who coped best with the circumstances and were still able to come up with worthy products.

As we’ve noted on a number of occasions recently, the supply chain issues saw a shift more towards higher-end cameras which are not only important flag bearers for a brand, but also deliver greater profits. The list of heavy-hitter mirrorless cameras that arrived during the period of eligibility for this year’s TIPA World Awards is a long one – Canon EOS R7 and EOS R6 Mark II, Fujifilm X-H2 and X-H2S, plus the X-T5, Sony A7R V and Panasonic Lumix S5II. It wasn’t until Canon unveiled the EOS R50 and EOS R8 in early February that we saw a return to more affordability. 

Of course, over the last few years there has been a conscious shift in the market to higher value cameras as a way of offering more compelling alternatives to the ever more photographically-capable smartphone. Whether this is an effective strategy remains to be seen, but it seems unlikely we will ever see truly budget-priced digital cameras again, especially fixed-lens compacts (with the exception of the few ruggedised ‘tough’ models which continue to sell well). However, there’s still a need for a cohesive and convincing advertising campaign to sell the many virtues of a ‘real’ camera compared to a smartphone, which is perhaps something that TIPA, with its global membership, could consider initiating.

Whatever the issues, we were still treated to a veritable smorgasbord of lenses throughout the period of eligibility, again presenting a challenge to TIPA’s Technical Committee – of which the editor of Australian Camera magazine is a member – when it came to narrowing down a very long list of appealing candidates to those most likely to win an award. Tellingly, there is a total of 11 lens categories in this year’s Awards, an indication of how the mirrorless camera market is rapidly maturing with expanding lens systems that are increasingly including many more specialist optics (macros, supertelephotos, etc.), as well as upgrades of earlier models that deliver further improvements to performance and capabilities.

Traditionally, the TIPA World Awards has always comprised 40 categories, but this year it was initially felt that this should be pared down partially to serve as a sign of the times, but also to avoid simply ticking boxes because we thought had to. However, as Technical Committee discussions and debates continued, we soon found ourselves back at 40 categories which, if nothing else, is an encouraging sign that market recovery is well under way. As always, the Awards categories are tweaked and tuned to reflect the changes happening in the industry and so, this year, there are some brand new 14 entries while other category titles have been changed to adopt the usage of new terms and descriptors… particularly in the video world where, for example, “vlogging” and being a “content creator” are now common things. However, the core categories for cameras, lenses, monitors, imaging software and lighting are constants.

For the first time in three years, the TIPA members were able to meet in person for the judging, which took place in the Spanish city of Barcelona. Due to a family matter, Australian Camera magazine editor Paul Burrows was unable to attend, which was a real pity because beyond the to-and-fro of the voting sessions, the interaction with the editors of photo magazines from all around the world is always stimulating and educational.

The period of eligibility for the 2023 awards was from 1 May, 2022 to 30 April, 2023 with the key provisos that everything has to be available to buy in most markets by the closing date, and have been tested by one or more member magazines. In terms of the latter, TIPA partners with the French engineering company DXOMark Image Labs for the testing of cameras, lenses and smartphones. This provides us with comprehensive and, most importantly, fully independent evaluations of a product’s performance in many areas. Of course, we also have our own in-house product testing – as do many of the TIPA member magazines – to further guide us in the process of selecting worthy Award winners.

Our top 40 this year is pretty star-studded with some predictable winners – the products that were clearly something special the moment they came out of the box – and some less so, but all have the potential to enhance, extend or increase the enjoyment of what we love doing – photography.

2023 TIPA World Awards Winners

Best APS-C Entry-Level Camera – Canon EOS R50

Best APS-C Expert Camera – Fujifilm X-T5

Best APS-C Professional Camera – Fujifilm X-H2S

Best APS-C Vlogging Camera – Nikon Z 30

Best Full Frame Advanced Camera – Canon EOS R8

Best Full Frame Expert Camera – Panasonic Lumix S5II

Best Full Frame Professional Camera – Sony Alpha 7R V

Best Professional Content Creator Camera – Sony ZV-E1

Best Professional Video Camera – Canon XA70/XA75 Professional

Best Wide-Angle Prime Lens – Sigma 24mm f/1.4 DG DN Art

Best Standard Prime Lens – Sony FE 50mm f/1.4 GM

Best Telephoto Prime Lens – Canon RF 135mm f/1.8L IS USM

Best Supertelephoto Prime Lens – Nikkor Z 600mm f/4.0 TC VR S

Best Portrait Lens – Nikkor Z 85mm f/1.2 S

Best Macro Lens – AstrHori 28mm f/13 2X Macro Probe

Best Wide-Angle Zoom Lens – Sigma 16-28mm f/2.8 Contemporary

Best Standard Zoom Lens – Sony FE 20-70mm f/4.0 G

Best Telephoto Zoom Lens – Tamron 50-400mm f/4.5-6.3 Di III VXD

Best Superzoom Lens – Sigma 60-600mm f/4.5-6.3 DG DN OS Sports

Best Content Creator Lens – Tamron 20-40mm f/2.8 Di III VC VXD

Best Drone – DJI Mini 3 Pro

Best Storage Media – Lexar Professional CFexpress Type B Diamond Series

Best Enthusiast Imaging Software – Skylum Luminar NEO

Best Professional Imaging Software – DXO Photolab 6

Best Professional Photo Monitor – Viewsonic ColorPro 27-inch 4K HDR

Best Professional Video Monitor – Dell UltraSharp 34-inch Curved (U3423WE)

Best Video Accessory – Zhiyun Weebill 3 Gimbal

Best Professional Portable Flash – Elinchrom FIVE

Best Professional LED Light – Godox Bi-color LED Light MG1200Bi

Best Photo Service – CEWE Photobook 100% Recycled Digital Printing Paper

Best Photo Paper – Hahnemühle Photo Rag 188 LayFlat

Best Photo Cards – Hahnemühle FineArt Photo Cards

Best Frame Design – WhiteWall Design Edition by Studio Besau-Marguerre

Best Photo Lab – WhiteWall 3D Wall Art Configurator

Best Design & Technology – fotobuch.de | ColorScience Workflow | Fomanu AG

Best Consumer AI App – Picsart Photo Editor AI

Best Professional AI App – Neurapix

Best Photo Smartphone – Huawei P60 Pro

Best Workflow Provenance Concept – Content Authenticity Initiative (CAI)

Best Photo Event – PHOTOPIA Hamburg

Read more:

The best DSLRs
The best mirrorless cameras
The best cameras for professionals
Best camera lenses
Best Sony lenses
Best camera drones

Photo: Supplied/Pea Sea Art

Last week a package was sent to Port Chalmers gallery Pea Sea Art addressed to Allan Adams – a well known homeless man living in the area.

The gallery owners tracked Adams down to open the package and to their surprise it was two black and white photo of Adams and a letter.

In it, the photographer asked for one photo to be given to Adams and the other to be sold on his behalf.

“It was taken outside the pharmacy of Port Chalmers,” Adams told Afternoons.

“He came along and I was money begging and he was trying to give me a meal and a few dollars and then he asked me if I would like my photo taken and I said yes.

“It’s just about my situation… that I’m homeless and I do money begging along my way.”

Adams (Ngāpuhi, Chinese) was born in 1961 in Whakatāne and grew up in the Tūhoe area before leaving for Auckland with his parents in the 1970s when his father, a train driver, moved for work.

In 1979 he finished school and followed in his dad’s footsteps, working for the NZ railways.

“I was young back then, in my 20s, and just travelled around with the New Zealand Railway,” Adams said.

In 2001, he ended up in Dunedin, where he has been since. Over time he found himself homeless and in the seaside town of Port Chalmers.

“It was just the way things happened for me I suppose, as I got older.”

Photo: Supplied/Pea Sea Art

Adams said he took every day as it came but would like to get into housing.

“Right now things are not looking good for me, being homeless. I rely on winning the Lotto and scratch and win more than ever before, that’s the only thing that’s gonna get me out.”

He was on the waiting list for a home.

“It’s a long waiting list, it’s going to take ages and ages to bring my name up.”

Gallery owner Robert Scotts said it would be fascinating to find out who the photographer was.

“The photograph is actually signed but of course we can’t make out the signature.”

The photo was being auctioned on Trademe and closes 2 June, with all proceeds being given to Adams.

The ZV-1 has been a very popular compact camera for Sony since its launch back in 2020, offering lots of features designed specifically for vlogging and content creation. Now the new Mark II version of the ZV-1 has been launched in May 2023.

So how does the new ZV1 II differ from the original ZV1, and which of these cameras is the right one for you?

We’re bringing you this in-depth Sony ZV-1 II vs Sony ZV-1 head-to-head comparison to help you choose between them.

Sensor

Both the ZV-1 and the ZV-1 II use exactly the same 20.1 megapixel, 1-inch stacked Exmor RS stacked sensor, so the image quality is the same.

The stacked Exmor RS sensor in these models gives them some advantages over the APS-C sensor ZV-E10 camera, primarily in burst shooting and slow-motion video capabilities (more on those below).

Processor

Both cameras use exactly the same powerful Bionz X image processor, which allows them to shoot at up to 24 images per second using the electronic shutter!

ISO Speed

The ISO range of the Sony ZV-1 and ZV-1 II is the same, ISO 100 to ISO 12,800, which can be expanded by one stop to 25,600 using the special Multi Noise Reduction mode.

Lens

This is the single biggest difference between these two cameras.

The original ZV-1 has a 24-70mm f/1.8-2.8 equivalent non-removable zoom lens, as previously seen on the popular RX100 series (the RX100 IV to be specific).

The new ZV-1 II has a much wider 18-50mm f/1.8-4 equivalent zoom lens that’s better suited to vlogging, particularly when holding the camera at arm’s length for selfie recording and group shots.

We were slightly critical of the 24mm lens in our Sony ZV-1 review, so it’s great to see Sony listening to feedback and implementing this crucial change in the 2023 Mark II version.

There are some tradeoffs, though, with the zoom range being noticeably shorter – 50mm versus 70mm – and the maximum aperture being a stop slower at the telephoto end – f/4 versus f/2.8 – both of which will make it harder to throw the background out of focus when shooting at the 50mm focal length than on the previous camera.

Sony do provide the Clear Image Zoom digital zoom function on the ZV-1 II which increases the focal range from 50-100mm “without any appreciable loss in image quality”.

On the ZV-1 II the zoom can be operated by using the touchscreen in addition to using the physical rocker switch on top of the camera, with selectable zoom steps running from 1x / 1.5x / 2x / 4x plus icons for W (wide-angle) and T (telephoto) to quickly change the angle of view at the press of an onscreen icon.

Autofocus

Both cameras have the same hybrid auto-focus system with 315 phase detection and 425 contrast detection AF points.

Both of them also offer Sony’s excellent real-time tracking system, including Eye AF for humans/animals for stills and humans for video, plus the Face Priority autoexposure (AE) function, which detects and prioritises the subject’s face and adjusts the exposure to ensure the face is depicted at an ideal brightness.

New to the ZV-1 II is the Multi-face Recognition mode which has trickled down from the recently launched ZV-E1 full-frame camera.

In this mode the ZV1 II will automatically stop down the aperture when another person comes into the frame to help ensure that all the people are in focus, rather than just the original one, which is a great feature for group selfies where you want everyone to be in focus.

Also new to the Mark II version is animal AF tacking in the movie mode – on the ZV-1 it’s limited to stills shooting only.

Video

The core video specs of the two cameras are essentially the same.

So on both the Sony ZV-1 II and the ZV-1, video can be recorded in 4K resolution at up to 30fps, whilst Full HD can be recorded at up to 100/120fps depending on whether you have chosen the PAL or NTSC format.

Both models feature Sony’s S-Log2 and S-Log3 gamma and HLG curves which enable them to record greater dynamic range.

Sony have added the Cinematic Vlog setting from the ZV-E1 to the new ZV-1 II model.

This allows you to choose from a range of different cinematic Looks and Moods and combine them to your own particular style. The resulting video is the automatically shot in the widescreen Cinemascope aspect ratio (2.35:1) at 24fps with black bands above and below the image. for a true cinematic feel, all by simply selecting the Cinematic Vlog option.

Sony’s range of Picture Profiles are also present and correct, meaning you can match the footage shot with the ZV-1 II or ZV-1 with higher-end cameras such as the A7 IV.

New to the ZV-1 II are a selection of 10 different Creative Looks, again inherited form the ZV-1 E1.

The stacked sensor additionally gives both cameras the ability to offer special HFR modes where you can shoot short video clips at 250, 500 or 1000fps, with footage then saved at 25fps for super slow motion playback.

Audio

Sony have improved the microphone quality on the new Z-V1 II when compared to the original model.

The upgraded intelligent 3-capsule mic from the ZV-E10 now offers three different settings – front, rear and all directions – so that you have more control over the sound recording depending on where your subject. is positioned.

It also sports a wind reduction design with a detachable Dead Cat wind shield provided in the box. Clear voice isolation is great for recording your voice and not the background, and there’s also a dedicated Multi Interface Shoe for an external microphone and other extra accessories.

Both cameras also offer an all important 3.5mm microphone input, but there is still no headphone output.

Vlogging Features

Both camera’s offer Sony’s special vlogger-friendly features – Background Defocus, Product Showcase and a Tally light.

Both have a Background Defocus button. For vloggers the aim of this button is to switch between having the background blurred or clear. In photographic terms it is switching the aperture between the largest available for the attached lens and a stopped down value.

The Product Showcase mode is an autofocus mode that alerts the camera to switch the focus from a person’s face to an object that may be held up in front of the camera. It is a popular YouTube technique for when wanting to show an item to the viewer, but on cameras with slower autofocus it can leave the focus fixed on the presenter’s face with the product out of focus, and vice versa. The Product Showcase mode solves that issue, adding another plus point for vlogging with these cameras.

A recording lamp (tally light) is also provided on the front face of the camera body for an at-a-glance indication of the current video recording status, and a red color recording alert square is displayed on the LCD screen too (both can be turned off).

Live Streaming

Live streaming is possible directly from both cameras simply by connecting it to a computer or compatible mobile device via USB, eliminating the need for a video capture card. This allows the camera’s video and audio capabilities to be used for live social media and video conferencing. Both the UVC and UAC standards are supported for improved picture and sound quality during streaming.

ND Filter

Both of these cameras have a built-in ND filter – the Z-V1 has a 2-stop filter and the Z-V1 II has a slightly stronger 3-stop filter.

An ND filter helps you to shoot at larger apertures on bright days, which is extremely useful when shooting video and trying to stick to the shutter speed being double the frame rate rule.

Burst Shooting

Thanks to the stacked image sensor, the Sony ZV-1 and Z-V II both offer a very fast maximum burst rate of 24fps with continuous AF/AE tracking.

Body and Design

The original ZV1 and 2023’s ZV1 II cameras are virtually identical in terms of their external design, apart from the different zoom lens and a massive 2g in weight! (the Mark II version is lighter).

Where they differ is the onscreen controls, with the ZV-1 II providing a greatly improved and expanded smartphone-like user experience that better suits its target audience.

You can shoot entirely using the on-screen icons along the bottom of the screen, and a simple swipe-up from the bottom quickly accesses the Function menu screen which houses frequently used settings.

All of the same external buttons and controls are the same on both models, there’s just a lot more touchscreen control available on the new Mark II version.

One important change is the ability to charge the ZV-1 II camera via its USB-C port using an external powerbank or similar, something that was sorely lacking on the original version.

Also, if you use the external Sony GP-VPT2BT Bluetooth shooting grip (which Sony strongly recommends), it no longer blocks the battery/memory card compartment.

Weather Resistance

Neither the ZV1 II or the ZV1 offer any certified level of weather-sealing, so you’ll need to be careful and/or protect the camera in inclement weather.

IBIS

With regards to stabilisation, there is Optical Steadyshot built-in to the ZV-1’s and ZV-1 II’s lenses. This will give you a couple of stops extra to play with when taking still images, and it will smooth out the lightest of movements when shooting video.

Both cameras offer the option to switch on Active SteadyShot in video, which is a digital form of stabilisation. This crops in to the image slightly to give the camera so digitally move the image frame around to compensate for any larger movements.

It works very well, creating very stable footage when handholding and taking out all but the heaviest of footsteps when walking. The catch is that because of the slight crop, if you are vlogging your face will appear larger when in the frame.

We would suggest only using it when walking or zooming in to show something, and when presenting to camera stick to using the Standard Steadyshot mode.

Finally, camera-shake metadata is recorded by the built-in gyro sensor that’s inside both cameras, allowing handheld footage to be smoothed out and stabilised in post-production using Sony’s Catalyst Browse / Catalyst Prepare desktop application.

Viewfinder

Neither camera has a viewfinder, so if you don’t enjoy using an LCD screen for composition, you’ll need to look elsewhere entirely.

LCD Screen

Both cameras have a 3-inch, 921,000 dot LCD screen which is hinged to the side of the camera and offers 180 degree rotation.

This means it can be flipped out to the side and rotated forwards by 180 degrees for vlogging or self-portraits (or selfies as they are now known), as well as being able to fold the screen in to the camera body to offer protection when you just want to carry the camera loose in a bag or pocket.

Memory Cards

The ZV-1 and ZV-1 II both have a single memory card slot which supports UHS-I type SD cards.

Battery Life

Both cameras use the NP-BX1 battery, with battery life quoted as being between 45-75mins of video or 260 stills.

Price

The older Sony ZV-1 is priced at £700 in the UK and $800 in the US.

The new Sony ZV-1 II costs €1000 in Europe, £XXX in the UK and $XXX in the US.

Conclusion

The new Sony ZV-1 II and older ZV-1 are both excellent vlogging options, with the former improving on the latter principally by widening the lens, enhancing the screen operability and enabling power delivery via the USB-C port.

With the ZV-1 continuing in the range, are those upgrades enough to justify the extra cash for the new 2023 version?

So what do you think? Would you choose the Sony ZV-1 II or the Sony ZV-1, and why? Leave a comment below!

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EL PASO, Texas (KVIA) — In the early 1990s, Glamour Shots photography studios were booming with business.

At its peak, there were over 350 studios across the United States. Fast forward to 2023, and only two studios remain. One of them is located in East El Paso, and the other is in New Jersey.

Glamour Shots was known for transforming people into models, providing unique makeup and hairstyles, followed by a glamorous photo session.

With changing fashion trends and advanced technology, hundreds of locations were forced to close their doors, but the El Paso location is still booming with business.

The store owner, Leonora Campbell, told ABC-7 she takes tens of thousands of pictures each year, and customers continue to return.

ABC-7’s Rosemary Montañez and photojournalist Jerry Najera dive deep into the Glamour Shots world to uncover the secret to success for the El Paso photography studio.

And they introduce you to the woman who won’t stop until it’s picture perfect.

You can scroll through a slide show of the Glamour Shots photos sent in by ABC-7 viewers here.

‘Picture Perfect’ airs Wednesday, May 24th on ABC-7 at 10.

A new exhibition at the State Library of Victoria showcases images from the library’s extensive photography collection, alongside new commissions, to provide a unique perspective on Victoria’s social history.

MIRROR: New views on photography, which is open now, features 141 photos by some of Victoria’s most renowned photographers including Destiny Deacon, Maggie Diaz, Rennie Ellis, The Huxleys, Alan Jordan, Viva Gibb, Julie Millowick, Wolfgang Sievers and Mark Strizic. 

The photographs span 80 years, and according to the Library, offer moments of reflection on Victoria’s social history through compelling images of people and place.

Connected by the theme of ‘Mirror’, the images have been handpicked by State Library Victoria Curators, Jade Hadfield, Kate Rhodes and Linda Short. 

In addition, new commissions by five individual respondents and two collectives of well-known and emerging poets, playwrights, storytellers and authors including Alice Skye, Jason Tamiru and Prithvi Varatharajan, further tap into that theme, with new perspectives on the photographs presented through text, poetry, song and performance. 

These commissions have been woven into three impressive large-scale projections. Additionally, two small ‘cinemas’ within the galleries display the full set of 141 photographs in a digital take on the traditional Library catalogue. 

“Mirror not only offers an insight into Victorian life through the lenses of some brilliant photographers,” said State Library Victoria CEO Paul Duldig, “but it also provides fresh perspectives of the library’s rich holdings of photography through the talents of some brilliant novelists, poets, performers and activists.”

Mirror: New views on photography is on at the State Library Victoria until January 28, 2024. You can find out more about the exhibition here.