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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

by Simon Harsent Portrait of Ingvar Kenne, 2012
by Simon Harsent Portrait of Ingvar Kenne, 2012
by Simon Harsent Portrait of Ingvar Kenne, 2012
by Simon Harsent Portrait of Ingvar Kenne, 2012

Simon Harsent

I like to think I'm an artist who uses photography as my medium, but I work commercially as a photographer and it's my full time occupation so I guess that defines me as a photographer or maybe a commercial artist?

by Heather Corrigan McCaughey Street, Turner, 1959, 2012
by Heather Corrigan McCaughey Street, Turner, 1959, 2012
by Heather Corrigan McCaughey Street, Turner, 1959, 2012
by Heather Corrigan McCaughey Street, Turner, 1959, 2012

Heather Corrigan

The lovely faces in my photograph are that of my best friends. Some I have only known for a couple of months, others for most of my life. For me, recreating a family portrait with individuals I love was supremely important. I was reconstructing a photo of people I cherish with people I adore.

by Janet Tavener The Living Room, 2012
by Janet Tavener The Living Room, 2012
by Janet Tavener The Living Room, 2012
by Janet Tavener The Living Room, 2012

Janet Tavener

Mikala is the eldest of my three daughters. I have photographed her on many an occasion. Needless to say we are both extremely at home with the practice.

by Krystal Seigerman Peter, Silverton, NSW, 2012
by Krystal Seigerman Peter, Silverton, NSW, 2012
by Krystal Seigerman Peter, Silverton, NSW, 2012
by Krystal Seigerman Peter, Silverton, NSW, 2012

Krystal Seigerman

The photograph was a brief, candid moment, which unfolded into a portrait. Peter and I were in Silverton, NSW, chatting as our students explored the town. The weak afternoon light suddenly became dramatic and defined, so I asked Peter if I could take his portrait.

by Myles Nelson James, 2012
by Myles Nelson James, 2012
by Myles Nelson James, 2012
by Myles Nelson James, 2012

Myles Nelson

It was definitely a candid encounter as was the expression on the face. It was constructed insofar as the image was deliberately taken from a distance so as to minimize intrusion and to magnify the effect of the image.

by Katherine Bennett Granny's 90th, 2012
by Katherine Bennett Granny's 90th, 2012
by Katherine Bennett Granny's 90th, 2012
by Katherine Bennett Granny's 90th, 2012

Katherine Bennett

The lady in the centre of this photograph is my partner's Granny. So we are almost directly related, and here, as with all photographic work. I am in a state of exchange though I think only directly, with one of the women!

by Melanie Faith Dove Face of South Sudan, 2012
by Melanie Faith Dove Face of South Sudan, 2012
by Melanie Faith Dove Face of South Sudan, 2012
by Melanie Faith Dove Face of South Sudan, 2012

Melanie Faith Dove

I had been watching Agnes with intrigue, her face and profile were so mesmerizing. On our final day together I pulled her aside and convinced her that she had such an amazing face that I needed to get a photograph for myself. It was very spontaneous in that I decided quickly how it would best look and shot it in only two frames.

by Louise Whelan Kaloti Parmjit, 2012
by Louise Whelan Kaloti Parmjit, 2012
by Louise Whelan Kaloti Parmjit, 2012
by Louise Whelan Kaloti Parmjit, 2012

Louise Whelan

I met Kaloti Parmjit the day I took the photo. I first visited the Sikh temple in the suburb of Glenwood to take photos as part of a social documentary project I'm undertaking for the State Library of NSW.

by Arianne McNaught The uncertain recovery, 2012
by Arianne McNaught The uncertain recovery, 2012
by Arianne McNaught The uncertain recovery, 2012
by Arianne McNaught The uncertain recovery, 2012

Arianne McNaught

I think the most important thing in capturing candid shots is to never take the photo when people are expecting you to press the shutter. The more poignant moments are not the stock standard images of people looking at the camera smiling but after or before when they are really interacting with each other.

by Ahmad Sabra Untitled #1, 2012
by Ahmad Sabra Untitled #1, 2012
by Ahmad Sabra Untitled #1, 2012
by Ahmad Sabra Untitled #1, 2012

Ahmad Sabra

We were in Gaza shooting a documentary and we had heard about the orphanages and wanted to visit and document some of the children who had lost parents during the wars in Gaza.

by Sharon Zwi David Stratton, 2012
by Sharon Zwi David Stratton, 2012
by Sharon Zwi David Stratton, 2012
by Sharon Zwi David Stratton, 2012

Sharon Zwi

We were in Gaza shooting a documentary and we had heard about the orphanages and wanted to visit and document some of the children who had lost parents during the wars in Gaza.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency