View Camera Australia online exhibition October 2026
View Camera Australia presents online exhibition number eighteen featuring the work of: James Niven, Bianca Conwell, Stuart Clook, Rick Abraham, Mark Darragh, Danielle Edwards, Zhan Teh, Alan Clark, Megan Ferguson, Alex Bond, Greg Wayn, Harald Helle, Annick Staindl, Ellie Young, Gary Sauer-Thompson, Robert Clarke, Murray White, Danny Tasmakis, Shane Booth, Ian Raabe, Peter Campbell, Charles Millen, Alex Gard, Ilona Schneider, Iain Maclachlan, Janet Naisnith, Andy Cross, Effan Effans, Lorraine MacLarty, Peter McDonald, Nik Mandadakis, Gary Chapman, Peter Kinchington & Patrick Macalister.
Photograph above: James Niven. Eurobodalla Coast. NSW. Scan of 4×5 negative. Website.Facebook. Instagram.
Patē – Seven-finger. Scan of pyro developed 4×5 negative. Traditionally used by Māori to treat skin conditions, patē contains falcarindiol, a naturally occurring compound with antifungal properties. Website.
Rick Abraham
Chaco Canyon, New Mexico. Palladium print from medium format negative.
Mark Darragh
Old Growth Snow Gum. Alpine National Park, Victoria. Scan of 4×5 transparency. Website. Instagram.
Alight. Silver gelatin contact print from 4×5 negative. Website.
Ellie Young
Four colour carbon transfer on to stainless steel from 4×5 colour transparency. Website. Instagram.
Gary Sauer-Thompson
Point Franklin. Scan of 4×5 colour negative. Website. Substrack.
Robert Clarke
Booyongs in Mist, Lamington National Park, Queensland. Scan of 4×5 transparency.
Murray White
EXPOSED 25 x 20 cm Silver Gelatin print from 6×7 negative. St Helens Beach in Queensland has a great camping area, while the ocean has a massive tidal reach offshore. A couple of travelling friends and I spent a night here recently, which happened to coincide with a full moon. In the low tide I walked perhaps 200 metres from the beach, before finding a gap between some shell encrusted rock stacks, then planted my tripod into silt covered sand for the ten second exposure. Website.
Danny Tasmakis
Scan of 8×10 negative. With 75% of native trees in Australia being of the eucalyptus family it’s hard to get diversity in your landscape photographs, sometimes rare opportunities present themselves to give you something special. This specimen is in a small pocket of land sitting between a shopping centre, car yards and suburbia, from almost any viewpoint the background wouldn’t work. On this particular morning I woke to the excitement of fog, which photographer doesn’t get excited by fog! And with my camera kit always ready to go I headed to this pocket of land, just 3 minutes from home. The fog provided the perfect opportunity to isolate the tree from its surroundings, obscuring the background and creating the atmosphere I was looking for. Instagram.
Shane Booth
Winton Wetland: After the rain 2. 8×10 Contact print from negative processed in pyro. Instagram.
Ian Raabe
Royal Exhibition Building Melbourne, Museum Reflection. 23 x 30 cm silver gelatin print from 4×5 negative. The Melbourne Museum is a repository for natural and cultural objects. This reflection places the Exhibition Building into the museum as a part of its collection. Website.
Peter Campbell
Coongan River Melaleucas (near Marble Bar). Scan of 4×5 negative. Website.
Charles Millen
Gorge reflections, Northern Territory. Scan of 4×5 transparency. Website. Instagram.
Rechte Bahngasse Vienna. Scan of 4×5 negative. Website.
Iain Maclachlan
Crouching Nude. 24.6 x 19.5 cm salt print. Digital contact negative enlarged from 4×5 pinhole camera negative. Instagram.
Janet Naismith
Still Life Jug & Pears. 20 x 25 cm Palladium print from 8×10 negative.
Andy Cross
Still Life A Cross. 4×5 transparency. The final print will probably be a silver gelatin that will be selectively toned for the handle in polysulphide toner and nickel for the red spots. Why because the shot is almost monochrome anyway.
Effan Effans
Red, Red Rose. 4×5 RA-4 reversal in camera process to produce a colour positive.
Lorraine MacLarty
Bailey and Me. 25 x 20 cm salt print gold toned. This salt print was made from an 8 × 10 digital negative, enlarged from the original 4 × 5 large-format negative. The final print was toned with gold toner to enhance its archival stability. Website.
Peter McDonald
Little Desert 2025. After bushfire, Little Desert National Park, Victoria – scan of 6x6cm negative.
Nik Mandadakis
Woranora River Rock Ledge. Silver gelatin print from 4×5 negative.
Gary Chapman
Lily. 8×10 collodion glass negative from 4×5 film negative.
Peter Kinchington
Corio Bay. 11 x 14 paper negative.
Patrick Macalister
Fennel. 19 x 17 cm silver gelatin print from 4×5 negative. Website.
View Camera Australia’s previous online exhibitions can be seen here.
