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The 1890s to the 1940s

Although the tough, weathered, hard-drinking bushmen of the kind mythologised by writers like Banjo Paterson and Henry Lawson are popularly associated with the character of late nineteenth century Australia, it was also a time when alternative ideas about identity began to come into play.

John McRae

An interview with the photographer.

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.

The more things change...

Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2017 Prize.

Coming into being

Dr Christopher Chapman, National Photographic Portrait Prize judge and curator, introduces the 2018 Prize.

Jose Legaspi

Jose Legaspi was born in 1959 in Manila. He achieved degrees in zoology and biology before turning to fine arts in the mid-1980s.

Portrait Donors

Arianne McNaught

An interview with the photographer.

Nusra Latif Qureshi

Nusra Latif Qureshi was born in Pakistan in 1973 and originally trained in the traditional art of Mughal miniature (musaviri) paintings.

Uncommon Australians

Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.

A non-material and non-physical portrait

Inner Worlds features the recently commissioned portrait of world-renowned philosopher of consciousness David Chalmers by Melbourne-based artist Nick Mourtzakis.

Nikhil Chopra

Nikhil Chopra was born in 1974, in Calcutta. His first degree was in commerce, but in 1997 he took up fine art studies, eventually gaining a Masters in Fine Art from Ohio State University, United States.

The look and the feel

Editor Stephen Phillips looks at the finalists' photographs through a judge's lens.

Forum participants

Biographies of participants in the Writing lives, revealing lives forum.

Rick Amor: 21 Portraits

Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.

Fiona McMonagle

Fiona aims to create a dangerous situation with a flood of water on the paper, forcing each work to the point where it can fail, and then rescuing it.