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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.

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 by Simon Harsent

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?

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 by Heather Corrigan

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.

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 by Janet Tavener

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.

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 by Krystal Seigerman

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.

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

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.

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 by Katherine Bennett

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!

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 by Melanie Faith Dove

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.

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

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.

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 by Arianne McNaught

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.

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

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.

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

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.

Related information

Yhonnie and Indiana, 2012 by Janelle Low
Yhonnie and Indiana, 2012 by Janelle Low
Yhonnie and Indiana, 2012 by Janelle Low
Yhonnie and Indiana, 2012 by Janelle Low

National Photographic Portrait Prize 2013

Previous exhibition, 2013

The National Photographic Portrait Prize exhibition is selected from a national field of entries that reflect the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

The National Portrait Gallery building front entrance
The National Portrait Gallery building front entrance
The National Portrait Gallery building front entrance
The National Portrait Gallery building front entrance

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The National Portrait Gallery building at night
The National Portrait Gallery building at night
The National Portrait Gallery building at night
The National Portrait Gallery building at night

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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.

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