Forgot your Username?

You can user our username reminding facility.

Get Started

Forgot your Password?

Enter your email address and we'll help you reset your password.

Get Started

This competition is now closed.

  • ACPP - 2019
  • Conditions of Entry
  • Calendar
  • Judging
  • Prizes
  • Exhibition
  • FAQ
  • Finalists
  • Winners

ACPP web poster1

Eligibility to enter

Entrants must be:

  • aged 18 years or over at the closing date for entries
  • an Australian citizen or resident, or an overseas member of Australian Photographic Society (‘APS’)

Employees of the APS, Magnet Galleries (Magnet), MyPhotoClub, and sponsors are not eligible to enter.

Judges are not eligible to enter.

The entries

  1. Each entry must be a still work that has been substantially produced by photographic means, including analogue and digital photography, collage and mixed media
  2. Each entry must be accompanied by an Artist’s Concept Statement of no more than 100 words
  3. Each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution

A maximum of four (4) entries may be submitted by any one entrant.

Entries must have been created in the twelve months preceding the closing date for entries.

Watermarked images will not be accepted.

Entrants must warrant that each work submitted is original and does not infringe the copyright, moral rights or other rights of any third party and that the entrant owns all rights and interests in the work submitted. All entrants must indemnify and keep indemnified the APS, Magnet Galleries and MyPhotoClub against any claim by a third party in relation to their entries.

Entries selected as finalists must not be used in promotional material for any other event or exhibition until the conclusion of the ACPP 2019 exhibition.

Entrants must warrant that their entries are their original work. They must be the sole copyright holder and intellectual property owner of their entries in accordance with Australian law and warrant that any intellectual property rights and moral rights of a third party have not been infringed. Intellectual property rights in entries remain with the entrant as the copyright owner. It is a condition of entry that the entrant grants to the acquiring gallery (Magnet) and APS without conditions, a perpetual royalty-free licence to use, publicly display, publicise, reproduce the entry or part of an entry, including in electronic form and broadcast, for publicity, promotional, educational and administrative purposes associated with the ACPP, in both digital and print mediums. For example, the work of previous finalists may be reproduced in publications promoting the ACPP in future years. It is a condition of entry that the entrant grants to APS and Magnet without conditions, permission in perpetuity to supply copies of entries to third parties for purposes associated with the ACPP.

Where required by Australian law, entrants must warrant that they have obtained the consent of all persons whose likenesses appear in their entries. This includes the requirement that those persons understand their rights regarding the photograph being taken. Such consent must include use of the entry in perpetuity for all marketing, educational and publicity uses of such photographs and ensure that no additional consents or licences are required in respect of names, trademarks, designs, works of art or any other intellectual property depicted in the work. The persons must be informed that their image may be displayed in the exhibition and its tour, as well as featured in accompanying promotional and advertising material in print and online format. Where information is disclosed about any person in the artist statement, the entrant must also obtain permission for that information to be used in conjunction with the image. If a person is not able to legally give consent (for example, for reasons of age or administration), entrants are required to obtain the consent of someone who is able to give consent on their behalf. If an entrant’s work is selected for exhibition, APS might require them to provide written evidence of such consent.

Submission of entries

Each entrant may submit up to four entries for selection for the ACPP.

Each entry must be accompanied by a fully completed entry form as part of online registration of entry.

Entrants must submit an artist statement of maximum 100 words as part of the entry form. APS may edit artist statements for consistency prior to publication.

The non-refundable entry fees are:

Number of entries   APS Members  Non-APS Members
 1 AUD $30 AUD $50
 2 AUD $40 AUD $70
 3 AUD $50 AUD $90
 4 AUD $60 AUD $100

Payments must be made with a debit/credit card using the MyPhotoClub payment portal. Entrants whose payments cannot be processed will be considered ineligible.

Each entry must be submitted via APS’s MyPhotoClub link as a digital file (maximum 5 Mb) saved as a JPG at up to 300 DPI, at least 2400 pixels wide or tall. Prints (hard copies) of entries will not be accepted for the initial judging and selection process. Entries will be accepted from 10 AM AEDT Tuesday 8 January 2019 until 11 PM AEST Friday 3 May 2019.

 Entries Open  Tuesday 8 January 2019, 10AM AEDT
 Entries Close  Friday 3 May 2019, 11PM AEST
 Judging  Between 10 - 17 May 2019
 Finalists Notified  Monday 20 May 2019
 Deadline for finalists to deliver “exhibition ready prints” to Magnet@Docklands,
 Level 1, 1 Wharf St, The District Docklands, Melbourne for final judging.
 Friday 28 June 2019, 3PM AEST
 (Thursdays - Sundays: 12pm - 4pm)
 Exhibition hanging at Magnet@Docklands & Judging  Monday 1 - Wednesday 3 July 2019
 Exhibition at Magnet@Docklands  Thursday 4 - Sunday 28 July 2019



  • The judges will have absolute discretion in determining the eligibility of an entry based on their interpretation of the Terms and Conditions of entry. The judges’ decision will be final and not subject to discussion or appeal. No correspondence will be entered into.
  • The judges will select a maximum of fifty finalist images from the digital images uploaded (“judging ready”).
  • Entrants whose work/s have been chosen as finalists will be notified by APS (by email or telephone) of their success by 20 May 2019. Unsuccessful entrants will not be personally notified.
  • All entries selected as finalists will be displayed on and may also be displayed on social media at the discretion of the APS. They may also be displayed on the Magnet website and on social media at the discretion of Magnet.
  • All finalists must sign and return a confirmation of entry form that will be emailed to them when they are notified. If the artwork is for sale, additional information will also be requested.
  • The finalists must submit “exhibition ready prints” for exhibition and final judging by 3 PM AEST Friday 28 June 2019.
  • The prizes will be judged from the exhibition ready prints submitted by the authors of the finalists’ images.


Prof. Denise Ferris
Head of the School of Art & Design at the ANU

download cv
See also:



roger skinner

Roger Skinner
Contemporary Group founder at APS

download cv 
See also:




Anne O'Hehir
Curator of Photography at the National Gallery of Australia

Anne is also a Board member at Photo Access and was a judge for the 2019 National Photographic Portrait Prize.


The winners of the ACPP and the best entry in the ACPP competition by an APS Member (which may also be the winner of the ACPP) will be announced on Thursday 4 July 2019 at the 6.30 PM AEST opening of the exhibition of the finalists’ prints at Magnet’s Melbourne Docklands Gallery.

The winner of the ACPP will be awarded $8,000 cash. The winner of the best entry by an APS Member will receive $2,000 cash. If the winner of the ACPP is an APS Member then that entrant will receive both cash amounts – totalling $10,000.

All finalists who are not APS members will be granted free membership of APS for twelve months from the date the finalists are announced at the opening of the exhibition. The granting of such free membership will not qualify the finalist for “best entry by an APS member” in this ACPP.

Other prizes may be added as sponsors are announced.

The ACPP is acquisitive; meaning the printed winning framed artwork that is awarded the ACPP immediately becomes the property of Magnet Galleries.

Finalist images selected for exhibition must comply with the following format rules:

  1. Works must be submitted as finished, framed prints stable enough to ensure transport and installation (unframed works will not be accepted).
  2. D-rings must be attached to the reverse of the work and ready for hanging.
  3. Framed images must use acrylic glazing or Perspex only, not glass.
  4. Images must be no larger than 80cm (h) x 80cm (w), including matt and frame.
  5. Multi-panel works are regarded as one work and must come within the maximum dimensions above, and include any specific installation instructions.
  6. Prints must clearly bear the title of the work and name, address, telephone number and email address of the entrant on the reverse of the work.

Magnet will ask finalists to re-print, re-mat or re-frame works that it thinks are not suitable for display and to re-deliver them at the finalist’s own expense.

Delivery must be made in person, by a nominated representative (such as a friend, relative or artist’s agent) or by a courier/freight company by the date notified to the finalist. The work must be accompanied by printouts of the completed entry form.

Alternatively, entrants whose works are selected as finalists may (at their own cost) arrange to have their exhibition ready prints made (and framing arranged) by Photonet@Magnet, avoiding the need to deliver them.

All entrants whose works are selected as finalists may also arrange (at their own cost) for Photonet@Magnet to print on demand as many copies at whatever sizes they wish for their personal use or to be offered for sale during the exhibition.

The organisers will NOT pay for any costs incurred in the delivery of any entry, including freight, customs duty or import tax.

Each finalist grants to the APS, Magnet, touring partners and sponsors a non-exclusive, perpetual, irrevocable, worldwide and royalty-free licence to use his or her image for advertising and promotion of the ACPP, APS or Magnet in any form of media now known or yet to be devised, both from the date the finalists are announced and in future years. Entrants acknowledge and agree that the APS, Magnet, touring partners and sponsors are not liable to pay the finalists any fee, royalty or other form of remuneration for this right. Whenever we use an image for advertising or promotion we will acknowledge the photographer’s copyright.

Unless otherwise advised beforehand, finalists must arrange to have their work collected from Magnet@Docklands during opening hours (Thursdays to Sundays: 12Noon to 4PM) within the period Thursday 1 August 2019 to Sunday 18 August 2019. Finalists will be reminded by email regarding dates and times when they can collect their work. It is a condition of entry that finalists are willing to sign a “Confirmation of dispose of artwork” form authorising APS and Magnet to dispose of work that is not collected within the collection period. A courier may pick up the work, provided that Magnet Galleries are advised and that provisions have been made for any pick up authorisations.

APS and Magnet reserve the right to exhibit or display finalists’ works at additional venues to be determined until 31 December 2020.

Finalists are advised to insure their works against loss or damage during the ACPP 2019 competition/ exhibition period of travelling, handling, judging, exhibition and storage. All reasonable care will be taken with all entries but the APS takes no responsibility whatsoever for loss or damage however caused to any works submitted.

All entrants agree to receive information and updates about the APS and Magnet through their nominated email address.

Q: What is Conceptual Photography?
A: Conceptual photography is photography that illustrates an idea. Conceptual photography means that you have a very specific idea you want to share with your audience. It can be something rather simple like happiness or sadness or something more complex such as gender identities, existential issues and so on. The 'concept' is both preconceived and, if successful, understandable in the completed image.


Q: I'd like to enter a series instead of a single photograph. If all the photographs in the series meet the criteria, is this possible?

A: A series of images could only be submitted as one entry if all images were contained within the one file uploaded and within the one framed print if selected as a finalist for exhibition. Multiple images intended to be presented as one work will be rejected if uploaded separately.


Q: Are diptychs/ triptychs allowed if they fall within the size?

A: Yes. So long as they are uploaded as one file and, if selected as a finalist, printed for exhibition as one work within the allowed finished size.


Q: Can I enter 4 images that could be judged separately, rather than as a panel?

A: You can enter up to 4 separate images and each of them will be judged separately. In fact, you cannot have your entries judged as a panel.


Q: The rules state that "each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution". Does this include FIAP-approved Salons/Exhibitions or does it refer to prizes Head On or the National Portrait Prize? And is it a problem if the entries are entered in other competitions after the entry deadline (recognising that they may then go on to receive Awards or be exhibited after the entry deadline?)

A: The reference to Prizes or exhibition at major public institutions does not include FIAP-approved salons. It is about such things as the Head On Photo Awards, the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, the Olive Cotton Photographic Portrait Prize, the Josephine Ulrick and Win Schubert Photography Prize, the MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE, the William & Winifred Bowness Photography Prize, the Heritage Bank Awards, the Fremantle International Portrait Prize, and so on. Since the words in the Terms and Conditions say “must not have been previously selected” there is no barrier to entering the same images elsewhere after the closing date for the ACPP 2019.


Q: If I am an accredited photography judge does that mean I cannot enter?

A: It is only the judges of this ACPP 2019 that cannot enter ACPP 2019.


Q: Since a warrant is a legal document do I have to get a JP to confirm my statements?

A: No, the word warrant as used in the terms and conditions is a verb and simply means “to guarantee or provide assurance”.


Q: Can I use a courier to collect work from Magnet Galleries after the exhibition concludes?

A: Yes, provided Magnet Galleries are advised that you have authorised the courier to collect your work.


Q: Does the finished work have to be paper based? Are prints on acrylic or metal allowed?

A: The choice of medium rests with the finalists.


Q: Is the maximum size framed/finished as outside measurement?

A: Yes, images must be no larger than 80cm (h) x 80cm (w), including matt and frame.


Q: Do finalist’s prints have to use acrylic glazing or Perspex if they have been printed on acrylic or metal?

A: Not necessarily. The only issue is the exposed edges and particularly corners which are very vulnerable during transport. ( can offer a special price for archival printing, framing, mounting , scanning for entrants. They can also mount conventional prints using archival materials on Aluminium panels.)


Q: What does the specification that prints may be no larger than 80x80 cm mean?

A: It means the finalists’ prints for exhibition can be no more than 80 cm wide and also no more than 80 cm tall. So, for example, a print could be 80 by 45, or 66 by 80, or 73 by 52, and so on.

Author Image Title   Concept Statement
Anne O'Connor Between the earth & the sky  Picture1 Trees are grown for beauty, decoration or shade but we don’t always appreciate them. Instead we build our economy on them. Our understanding is confused between economic need and earth’s needs. We forget the rain attributed to them and the oxygen they produce. Slowly they are vanishing from the earth’s skies. This work is about the fading of trees on the land. People should look up and see them for what they are; hovering between the earth and sky; shadows & branches entwined offering protection, emitting oxygen to breathe. They need to live. They are our future.
Anne Pappalardo When the son becomes a father  Picture2 This image explores the relationship between my husband, a first generation Australian and his Sicilian father who cut cane to support his family on arrival in Australia in the 60's. The cane knife and its placement on my husband's shoulders symbolises that while their life experiences are vastly different, their struggles in their roles as fathers, breadwinners, heads-of-the-house, moral compasses and problem-solvers for their children are common between them.
Barbara Bryan Wandering branches mono3a  Picture3 Due to its nature of tentacles crawling over rocks to convey an other-worldly, creepy feel, this aspect of alpine flora growth has drawn my attention again and again, over decades of visits. My treatment of the imagery is aimed to convey a reaction from viewers which may involve surprise, intrigue, mystery or unpleasantness about what is going on and draw them to delve further into the image thus engaging with it and finding a deeper connection.
Barbara Bryan Wandering-branches5  Picture4 An alpine shrub surviving against the odds by withdrawing from the exposed higher rock surface. Interpretation may include a reminder of the balding human head or the crown of thorns worn by Jesus.
Barbara Bryan Wandering-branches-mono  Picture5 The tenacity of nature cannot be underestimated so I have endeavoured to illustrate this with the bleached, prostrate shrubs growing over rocks in the alpine regions as a survival mechanism against the odds of exposure to high winds, heavy snow and extreme cold. Drawing the viewer to delve closer to interpret the imagery and thus experience their own reactions and thus perhaps draw their own conclusions. My interpretation involves dramatising the experience of the plant itself.
Belinda Coleman Transcendence  Picture6 Transcendence means existence or experience beyond the normal or physical level. I wanted to create this by putting an Aerial Hoop (Lyra) underwater an Aerialist wearing a beautiful flowing dress. I wanted to explore what the dress would do underwater and how an aerialist who usually does tricks ‘in the air’ would be able to perform underwater. I love how the weightless nature of water moves things around in an uncontrolled manner.
Bill Ragan One Moment  Picture6 Just a moment This image speaks to human commercial endeavour and created space containment. Within has been the hustle and bustle of a grand opening, sales, the acutely timed filling and emptying with customers and sales staff. Now the container of these activities awaits destruction most of the time empty and near silent. To be returned to a state of uncontained space. This photograph, the remanent of a sense of place.
Bill Ragan Infill  Picture6 This photo was conceived in response to the urban infill programs occurring in older suburbs in Australian cities, the aim to draw attention to the loss of what I like to refer to as the cool spaces between rooftops, the area of yard and plants on ¼ acre blocks.
Bill Ragan On-Slade  Picture6 A lonely television discarded on the street. While it is often said "Home is where the heart is", for the last several decades one could have equally said "Home is where the television is" and in the future more probably true to say home is where the screen is. In the above sense, this particular television, has given to and carried sense of place of three locations. Here, most likely to be my last home, it sits outside reflecting both the location and its owner.
Bruce Watson The-Liveable-Suburb  Picture6 An abandoned factory remains on a partially completed housing estate near new buildings, so is the new suburb truly 'liveable' as the promotion suggests?
Deb Gartland Self Reflection  Picture6 Self-Reflection Photo Encaustic & Mixed Media Ocean photography is exhilarating at any time of the day. Pre-dawn early mornings, long exposures and close-ups. Sunsets, night skies and winter storms. Playful and experimental shutter speeds, water and atypical results sees deliberate manipulations that calm the Great Southern Ocean’s turbulence. Encaustic and Mixed Media additions consciously highlight individual components while softening others. Creating a truly individual environment of texture, fluidity and vastness. Self-Reflection encourages the viewer to immerse themselves in the sometimes tempestuous and uncontrolled, the ocean soothes the soul and brings a contemplation of life and our place in it.
Deon Viljeon What we create  Picture6 An image that demonstrates our interaction and control with the complex structures we create.
Dianne English Heating Up  Picture6 My image was created with my camera plus polarising filters, water and ice, the result was ironic as it depicts the opposite, being an abstract image showing the effect of heat on our planet earth. The heat on the rim of the earth spreading over the land showing only few water droplets, diminishing green areas and many drylands.
Duncan Cunningham-Reid Not Smart  Picture6 Basically this is a homage to Jeffrey Smart and his concepts.
Gina Fynearts 659-2019 getaway  Picture6 My work explores issues of mapping, language, my own (Hungarian) roots and identity bound to a search for sense of place. Aiming to capture my experience, trees and landscape are an inspirational metaphor for feelings of being ‘uprooted’ and transplanted. There is beauty, an observed truth when in close contact with nature yet it t seems we notice more when things are present than when absent, I hope to provide a moment of contemplation. To the loss. To the Presence of Absence. When enough things are absent, the absence takes on a presence of its own.
Henry Lewis HL 588 mar19  Picture6 In photography, my work appears in regard to each series achieved: body, moons, radiography, circles as more than the process of capturing reality. I look for ways to use this reality as a path to get lingering questions examined. this way of working seems to have continued naturally from the first images to the present. If the image appears, clearly to be about something, search more
Judy Parker Shadow Play  Picture6 Under light tree-shade and full sunlight, I embarked on a play with concept, tonality and colour. Walking to my car parked beside yellow stripes, I enjoyed the changes I saw to my shadow and made a sequence of five frames, later cropped square. Further extending the changing light and shadow profiles, I inverted and reflected each squared frame and then mirrored the whole sequence horizontally. This made the yellow central, surrounded by neutrals. Finally, I inverted the colours themselves, retaining subtle changes between the greys but allowing the yellow stripes to jump suddenly to contrasting blue. Simple became tapestry.
Karen Childs Fairy Bustle  Picture6 Before sunup, fairies hurry to pack up their world. If they don’t disappear from sight before we spot them, their magic just won’t work. There’s much bustling going on out in the garden; like a busy beehive, only bright and silent.
Karen Sharman speedy seaweed  Picture6 Shot to look like seaweed racing along on the swift current at night.
Lenuta Quraishi Artist selfie  Picture6 As an artist I always look around me, see the environment that I live in, how can I use that space to make it my own, to represent me. Here at Art Gallery in Sydney, space to be prepare for future art installation so I just put the camera on a small table, gave it a time delay, and set some other settings.
Linda K Y Wei Curl  Picture6 I am inspired by the moment of these two young elephants in their shape of connection. I have added texture to the background to give a feeling of age.
Linda K Y Wei Misty Morning  Picture6 The choice of subject comes from my interest in the beauty of lines on the water.
Mario Mirabile Upstream  Picture6 It's always easier to go with the flow, but sometimes you have to fight against it and make the uncomfortable decision to extend yourself. Even if the conditions aren\'t favourable, you need to keep going upstream to see what\'s round the next bend. Think it through and look for a different way to see or a different process to follow. It takes courage, but there is strength and growth in leaving the old you behind and moving to a new level. After all, only dead fish float with the current.
Mario Mirabile Welcome-to-the-machine  Picture6 "Welcome to the machine" examines the growing isolation individuals in modern society. Social interaction is at the core of human existence, yet at a time when population and crowding has never been greater, social isolation has never been more acutely felt. The global machinery of "social" media ensures that we no longer need to regularly talk to others or interact with them physically. Instead we rely on a constant stream of digital hugs in the form of likes and trite emojis. This feeds our sense of isolation and traps us in the machinery of social networks.
Marisa Ho Mother Load: Variations 1 to 9  Picture6 This image is a part of a larger series which forms a self-portrait of my Motherhood. My work explores the overwhelming nature of motherhood, the fragmented state of mind, the loss of identity and the conflicting relationship between my Motherhood and Creativity. In Variations 1 to 9, I use performative art in conjunction with photography to capture the changing and every increasing challenge of Motherhood.
Marisa Ho Between-Beauty-Shadow Picture6  Becoming a parent brings a different perspective to the innocence of childhood. Where I once saw only beauty and freedom, I now see innocence as a threat. I try to put away these fears, - a parents' anxiety can become overwhelming. But still for me, the innocence of childhood floats somewhere between beauty and shadow.
Michael Wolfe Westmere-28-12-18-3-1  Picture6 Shimmer is a series of photographic studies of grain silos both as Archetype – symbols in rural landscapes of production, cultivation, prosperity, decline and change; and Typology – classification according to general type – comparing their forms and designs based on function, capacity, regional idiosyncrasies, age and condition. The use of multi-exposure creates an optical intensity and hallucinatory layered painterly effect and rhythmic continuity while meticulously controlling minute variances in contrast, brightness and opacity.
Mieke Boynton The Water Tree  Picture6 As humans, we are utterly dependent on water for life. Trees are a universal symbol for life. This Water Tree stands strong despite the buffeting winds surrounding it and the blackened soil beneath it. It invites the viewer to marvel at its beauty and calls us to examine our own attitudes to water: do we honour it as the key to all life? Or do we waste it, and risk our Earth becoming a barren wasteland with only the howling wind for company…
Murray Weir nobodys land  Picture6 Ownership, however displayed, depends not on divine right, or overpowering might - but, rests with use, spiritual attachment and a caring responsibility. Seemingly empty, a boundless expanse visited with European, colonial attitudes miserly ignores the plain truth of native sovereignty. Acceptance of that past - thru contemporary eyes - acknowledges the visage of Life evident within the open approach to the Land.
Nola Sumner The Apple Concept  Picture6 Stairs hold a fascination for me and over the years I have discovered that every new Apple Shop has a unique staircase. One of the first things I do in every new city I visit is find the local the store and try and get a different angle from the usual. On any return visit I will try again to capture something new - always on the look for that different viewpoint.
Paul F Robinson It's Global Incineration  Picture6 Global Warming is a misnomer, it is slow motion Global Incineration that is gathering pace. The withering of the land is creeping inexorably closer to our cities where most of the pollution causing effects derive. Mankind is blind to what is happening and to what we should urgently be doing to minimise the cooking before Earth is charred. Irresponsible greed, governance and gullibility have contributed to the slow-burn of the Australian landscape. This typology is straight, showing radiant heat directly off the landscapes and are also now showing in the Australian winter. The 'heatscapes' are a testament to Global Incineration.
Peter Solness Haefligers Cottage Series 5  Picture6 The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this image I wanted to immerse myself into the wonder of my own imagination, so I stepped into this imagined space, with its interplay of light and dark. Light can reconfigure spaces into infinities of possibility. I love the night, the darkness and the otherness of being in these places of abstract definition.
Peter Solness Holtermann-Projections--8-Hill-End  Picture6 The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this series I delved into the wonderful world of the Holtermann Collection, images taken during the 1870s goldrush at Hill End. I set out at night with my projector, camera and tripod and projected selected images onto locations around Hill End. I wanted to bring the faces of these people back into Hill Ends' contemporary landscape.
Peter Solness Haefligers-Cottage--2-Hill-End  Picture6 The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this series I photographed patterns of sunlight playing on the cottage floors and windows during the day then projected those patterns around the interior spaces at night. I wanted to transform this 1850s cottage into a light-filled vessel.
Robert Dettman Liquid Music  Picture6 Architecture is frozen music. So said Johann Wolfgang von Goethe. My concept is to present a sculptural building (actually an opera house) as an uplifting object of wonder, isolated in a minimalist frame where colour and form create an atmospheric experience of drama, rhythm and harmony.
Robert Dettman Holding-up-the-sky  Picture6 In the city skyscrapers cluster together, individual buildings unappreciated and blending into a wall of confusion. My concept is to isolate a tall building in a spacious frame where it can dominate the space without distraction. A nuanced transformation suggests a sense of the surreal yet still reveals details that can be appreciated at leisure.
Sue McLeod Horizons1  Picture6 Our horizons change with time and circumstance. Sometimes clear, our goals set, sometimes vague, anxious and frightening; but at times when the horizons are vague, we can sometimes step back and see the beauty of life. As we take the pressures from ourselves, our horizons become clearer, and we become calmer.
Timothy Moon Curtainwall  Picture6 The city is clad with curtainwall, which provides a faceless cloak of varying degrees of reflection, with canyons of the impersonal, lacking human scale and contact.
Tony Harding Knowledge  Picture6 Technology has had an enormous impact on lives across the world. Study and sources of knowledge have changed in both their action and derivation. Scholarly activity was traditionally associated with books but this has altered in the 21st century with electronic means for obtaining information normalised and mainstreamed. This image seeks to represent the dialectic between traditional sources of information and knowledge and more modern technological means
 APSnatnature2016    When the son becomes a father by Anne Pappalardo

 Self Reflection by Deb Gartland

 Taking home the grand prize of $10,000


 When the son becomes a father by Anne Pappalardo

 Taking home $500


Visit our sponsors

 EmergentDesigns logo300    magnet galleries 300  australian photography300

my photo club web

photo review logo 3 1