View Camera Australia online exhibition December 2025
Photograph above: Peter Campbell. Ghost gums. Karijini. Western Australia. Scan of 4×5 negative.
View Camera Australia presents the fifteenth online exhibition featuring the work of: Peter Campbell, Zhan Teh, Zo Damage, Daisy Noyes, Mark Darragh, Andy Cross, Murray White, Julian Pearce, Alex Bond, Justine Roche, Alex Gard, Janet Naismith, Effan Effans, Bianca Conwell, Charles Millen, Peter Kinchington, Greg Wayn, Harald Helle, Steve Nicholls, Wendy Currie, Ian Raabe, Klaus Major, Greg Neville, Danielle Edwards, Patrick Macalister, Peter de Graaff, Ellie Young, Mat Hughes, Ray Goulter, Jane E Brown, Stuart Clook, Gale Spring, Gary Sauer-Thompson, Lorraine MacLarty, Iain Maclachlan, Shane Booth, Gary Chapman, Peter McDonald, Tom Sheppard & Ryan Dandelion.
Zhan Teh
Calinda, Ode to Boundary, Brisbane 2025. Scan of 4 x 5 negative. Website.Instagram
Zo Damage
Invent Define Destruct (self portrait) 2020. Scan of 4 x 5 negative. Website. Instagram.
Daisy Noyes
Lumen print. I invented a sort of camera by taping the paper inside the lids of my two kids’ lunch boxes every day. The lunch box acts as a camera and records their lunch breaks. Website. Instagram.
Mark Darragh
Old growth Snow gum. Victorian Alps. Scan of 4 x 5 transparency. Website. Instagram.
Andy Cross
Old car. Nebraska. 40 x 50 cm dye transfer print from 6 x 7 Ektachrome transparency. Printed on Hanfstaegl #61 line paper. Cromax dyes.
Murray White
Acrobat. 25 x 20 cm Silver gelatin print from 6 x 7 view camera negative. I visited Sturt NP in north west NSW recently and spent a few nights camped in the national park. Mulga scrub and sandhills are are endemic features of the area, together with the occasional granite outcrop, although those looking for old pastoral or gold mining relics will find plenty to photograph across the region. I found this subject just off a walking track and was taken by this rock arrangement, where all elements appear to contribute to the spectacle. With all parts of the composition relevant, I was grateful for the tilt capability of my medium format view camera. Website.
Julian Pearce
Bruny Island. Tasmania. 25 x 35 cm silver gelatin print from 5 x 7 negative.
Alex Bond
Paperbarks, Canning River, Perth. Scan of 6 x 6 negative. Website. Instagram.
Justine Roche
Eucalyptus Erythrocorys, 2025. 25 x 25 cm Tintype. Website. Instagram.
Nature’s Cathedral. Scan of 4 x 5 negative. I was inspired by the towering light quality depicting the classical arches found in the world’s great cathedrals.
Effan Effans
Feather & Vase. 4 x 5 paper negative. Scanned and reversed in Photoshop. 38 x 26 cm inkjet print.
Bianca Conwell
Microstructure 5. 10 x 12cm, Daguerreotype on solid fine silver. Website. Instagram.
Charles Millen
Pencil Pine in Mist. Scan of 4 x 5 transparency. Website. Instagram.
Peter Kinchington
Juvenile Porcupine Fish under Blairgowrie Pier. 15 x 20 cm Photogravure using Chine-colle. Website.
Greg Wayn
Bell Street Station. Scan of 8 x 10 negative. A3 Inkjet print. Website. Instagram. Blog.
Harald Helle
Terrigal Boardwalk. Scan of 4 x 5 negative.
Steve Nicholls
Bottles. 20 x 25 cm silver gelatin print from 4 x 5 negative.
Wendy Currie
Oriental Lily. 21 x 13 cm photogram using Cyanotype process. Website. Instagram.
Ian Raabe
Little Desert Grass Trees. 25 x 20 cm silver gelatin print from 4 x 5 negative.
Klaus Major
Untitled. 26.8 x 33.7 cm silver gelatin ptint from 4 x 5 negative. The motif of a clock face is widely used in visual arts,(eg The Persistence of Memory by Salvidor Dali, and Self Portrait Between the Clock and the Bed by Edvard Munch.) It is also incorporated in sculpture (eg Untitled (clock) by Stuart Ringholt), Installation works (eg Untitled (Perfect Lovers) by Felix Gonzales-Torres) and poetry (eg Time and Memory by Samual Wagan Watson), The motif can be used in different ways, reflecting mortality, loss, a marker of experience, or even time distorted or time speeded up.
My Untitled photograph reflects the fracturing of time. Taken in remote NSW, it is in an environment where the concept of hours and minutes becomes meaningless – time has completely dissolved. Website. Instagram.
Greg Neville
Other Lives 3. 48 x 32 cm pigment inkjet print from 4 x 5 negative. Website.
Danielle Edwards
Sleek . 18.5 x 14 cm Photogravure.
Patrick Macalister
Kitchen utensils. Scan of 4 x 5 negative. Website.
Peter de Graaff
Pink rock orchid, Dendrobium kingianum. Shoalhaven Heads. Scan of 6 x 9 negative. Website. Instagram. Facebook.
Ellie Young
Creobroter Urbanus. Scan of 8 x 10 negative. Website. Instagram.
Mat Hughes
Untitled (Ullal de la Perla – Pearl Spring – Gandia Spain). 31 x 24 cm four colour bichromate over cyanotype. This 4 x 5 black and white pinhole camera exposure was made in the early morning on a bright day. With gum bichromate printing, I seem to be making two prints at a time. With each new colour layer, I’m interpreting the image with a different colour choice, that adds depth and richness. This print is the more restrained. The addition of diatomaceous earth in the final black layer sucks light out of the pigment making it appear matt in the shadow areas. Website.Instagram.
Ray Goulter
Temple Church (Knights Templar Church) UK. Scan of 4 x 5 negative. I set up my 4 x 5 camera with a 150mm lens and took many light readings of various parts of the inside of the Knights Templar Church to finally settle on an exposure of 5 seconds at f/16. There’s some movement of people in the right-hand side of the image evidencing the slow shutter speed. The front standard was raised to reduce converging verticals. I was very pleased with the result that shows good gradation of tones with detail in both highlights and shadows with some trade-off in highlights at the top of the stained-glass windows.
Jane E Brown
From the series When Objects Dream, silver gelatin print from 4 × 5 negative. Website.
Stuart Clook
Ōtamahua / Quail Island, New Zealand. 32 x 52 cm gum bichromate from 6 x 9 negative. Website. Instagram.
Gale Spring
American Dream. 19.5 x 13 cm photogravure.
Gary Sauer-Thompson
Hookina Creek floodplain, Lower Flinders Ranges, South Australia. Scan of 4 x 5 negative. Website. Instagram.
Lorraine MacLarty
Mount Conobolas, extinct volcano. Scan of 5 x 7 negative. Website.
Iain Maclachlan
Mount Lofty, Warrandyte State Park, Victoria. 24 x 19 cm salted paper contact print, waxed and gold toned. Instagram.
Shane Booth
Cloudstream. Mount Arapiles. 12.7 x 17.7 cm silver gelatin contact print. Instagram.Facebook.
Gary Chapman
Sentinel. Scan of 4 x 5 orthochromatic film negative.
Peter McDonald
Bird of Paradise. 20 x 25 cm Ferroblend contact print.
Tom Sheppard
Kwiambal Country. Scan of 4 x 5 negative. The Severn River flows through Kwiambal Country in northern NSW. Late afternoon light shows the tranquillity of a river recently in flood. Website.Instagram.
Wow, Some really beautiful images this round. Well done everyone.
Thank you Alex, yes some really beautiful images.
Thanks David, a great array of images, processes and ideas.
Thanks very much Shane.
David, another great selection of images. I was pleased to be able to once again contribute and join the company of other LF adherents.
Thanks Ray.
An interesting collection of images in this exhibition. I find the nautilus shells by Jane E. Brown captivating.
It is so wonderful to see so many visions and approaches.
Thank you David.
Thanks very much Jocelyn.