PhotographingNaomi Price’s “Christmas Actually”is always a joy — and this year’s Sydney performances were no exception. A brilliantly fun, festive, and utterly entertaining variety show, it’s easy to see why Naomi’s show has become a beloved holiday tradition.
From her witty storytelling to the energetic musical numbers, every moment bursts with humour, sparkle, and theatrical flair. The audience is swept along for the ride, laughing, singing, and celebrating the season with Naomi and her talented cast.
For a photographer, it’s a dream: vibrant costumes, dynamic staging, and a performer who’s utterly expressive and captivating on stage. Every frame tells a story — a little chaotic, a lot joyous, and entirely in the spirit of the holidays.
“Christmas Actually” is more than a show; it’s an experience — one that spreads cheer, showcases incredible talent, and reminds you why live theatre is so special.
Just before Christmas, I had the pleasure of photographing the NAPWHA organising group for their end-of-year lunch. This shoot was a mix of the familiar and the fresh: capturing individual portraits of staff members, alongside the group shot I’ve been photographing for several years.
We started in the gardens, aiming for a relaxed, leafy backdrop — but the weather had other ideas. Some of the members were also held up at a meeting, so we wrapped things up in Surry Hills, right in front of the restaurant. The change of location gave the images a fresh, urban feel, contrasting nicely with the greenery of the gardens and reflecting the vibrant energy of the team.
Even with the last-minute adjustments, the shoot was a success — a combination of friendly faces, professional portraits, and the group camaraderie that makes NAPWHA such a standout organisation.
I had a blast photographing the dress rehearsal for Barbra: The Greatest Star at Hayes Theatre Co — and even at rehearsal level, this show was already dazzling.
Starring Tana Laga’aia, Laura Murphy, Stellar Perry and Brittanie Shipway, this joyous tribute to Barbra Streisand is a high-voltage celebration of one of the great careers in music and performance. Each performer brings their own voice, personality and theatrical flair to this extraordinary songbook.
The staging is gloriously over the top and unapologetically camp — big gestures, bold design moments and exuberant performances that perfectly match the larger-than-life spirit of the material.
And what a repertoire it is: an incredible parade of Streisand classics, from soaring ballads to brassy anthems and more intimate musical moments, all delivered with wit, precision and serious vocal firepower.
Even at dress rehearsal, the energy in the room was electric — and if these images are anything to go by, audiences are in for a spectacular, joyful night at the theatre.
Barbra: The Greatest Star runs at Hayes Theatre Co from 21 January to 14 February 2026. (See link for tickets:)
I travelled to Melbourne to photograph the latest collection for Circa AD Jewels, created by boutique jeweler Adrian Dickens. I’m delighted to share a selection of images from this shoot, chosen for the official catalogue — you can explore the collection via the link above.
The shoot took place in a stunning location overlooking the city skyline and the leafy expanses of Fitzroy Gardens. It was one of those rare days where everything aligns: beautiful light, a calm atmosphere, and a creative team working in sync.
Our model, Carmen, was an absolute delight — professional, warm, and effortlessly elegant in every frame. She wore refined, tailored pieces fromPerri Cutten, which paired perfectly with Adrian’s exquisite jewelry. The combination of craftsmanship, design, and location made for a memorable day behind the camera.
A few highlights from the shoot are displayed here, offering a glimpse into the final catalogue. I’m thrilled with how the imagery for this project has come together.
View of Melbourne CBD from the apartment balcony, looking south-east
Some photography jobs stay with you not because of the lighting, or the composition challenges, or even the scale of the client — but because of the sheer spectacle of what’s unfolding in front of your lens. My recent shoot at the ESR-developed warehouse in Moorebank was very much one of those days.
I was commissioned to photograph a helicopter lift ten very large air-conditioning units, one by one, onto the roof of this enormous new warehouse for final installation and connection. On paper, this sounds impressive enough. In reality, standing there on the ground as it happened was something else entirely.
The helicopter itself was a Black Hawk — a serious piece of machinery. Once part of the US military fleet, it’s now been purchased and is operated here in Australia. There’s something unmistakably purposeful about a machine like this: it doesn’t just arrive, it announces itself. You feel it before you see it. The sound, the downdraft, the absolute presence of it in the sky makes everything else around it seem momentarily small.
What made the day even more remarkable was knowing what it took just to get the aircraft to site. The Black Hawk had flown in that morning from Orange, where it is hangared. The logistics involved in mobilising something like this with absolute precision, plus the speed and efficiency of the entire team was amazing…all ten units were put into place in under two hours.
Adding another layer to the story, the flight required two pilots. One had flown in from the US, because the Australian pilot still needed to log more hours on this particular machine before he’s fully qualified to fly it solo. It was a reminder that even with all this raw power and engineering, the human element — skill, training, experience — remains absolutely central.
From a photographic point of view, it was a dream brief: scale, motion, machinery, and a very real sense of risk and precision all wrapped into one. Watching each unit being carefully lifted, flown, and lowered into place was like witnessing a highly-choreographed aerial ballet — just with a lot more noise and wind.
Days like this are a good reminder of how many extraordinary things happen in the background of construction and infrastructure projects, and how lucky I am to occasionally get a front-row seat to document them.
Sydney-based photographer John McRae is a long-time collaborator with Olympic gold-medal diver Matthew Mitcham. Since before 2008, when Mitcham won gold in the 10-metre platform event in Beijing with what was then the highest-scoring single dive in Olympic history, McRae has been documenting Mitcham’s evolution from an uncertain youth into a self-possessed, globally recognised sportsman and actor.
Several of McRae’s portraits of Matthew have appeared on the covers of international magazines, revealing Mitcham’s role as an accomplished performer — at ease with his physical prowess, his stage presence as a theatrical actor and his emotional candour. One of McRae’s portraits was also reproduced on the cover of Mitcham’s 2012 autobiography “Twists and Turns”.
“Essentially, I am using my camera as a tool for tracking and mapping a personality,” says McRae. “Over the years, our working relationship has developed naturally and easily, alongside a growing friendship. In many ways these images are snapshots of the interaction between photographer and muse. I’m interested in turning the camera toward that exchange.”
This newly made portrait marks the continuation of their ongoing series – their 16th annual image produced together. The previous portrait was taken in 2022; a three-year gap shaped not by intention but by geography, with photographer and subject living half a world apart. Reuniting in 2025 brings an added resonance — a sense of return, of picking up a visual conversation mid-sentence. Time, distance and experience are quietly embedded in the image, contributing to its depth and maturity.
Both McRae and Mitcham have long agreed that this body of work will continue for as long as circumstances allow — a shared commitment to subtle observation, innovation and trust.
John McRae’s portraits have been finalists in many of Australia’s most significant art prizes, including the Olive Cotton Award, the National Photographic Portrait Prize, the Moran Portrait Prize, Head On Portrait Prize, the Blake Prize and the Josephine Ulrick & Win Schubert Award. His work has been exhibited widely throughout Australia and internationally, and he continues to explore intimacy, self-awareness and the evolving nature of identity through long-term photographic relationships.
Matthew has returned to Australia to perform in the cutting edge play “Afterglow”. The Sydney season runs from 26 February – 22 March at the Eternity Playhouse (see this link:) “Afterglow” also has a Melbourne season at Chapel Off Chapel performance space, Prahran, from 30 January – 21 February. (For details click on this link:)
Matthew Mitcham Annual Portraits – full series, starting in 2008 (the year Mitcham won the gold medal at the Beijing Olympics for his record-breaking 10-metre platform dive)
Various out-takes from the shoot. As we can see…Matt hasn’t lost his sense of the ridiculous
Recently, I had the privilege of photographing an important milestone for The Heart Research Institute (HRI): the launch of their Reconciliation Action Plan (RAP). It was an afternoon dedicated to acknowledging responsibility, strengthening partnerships, and outlining HRI’s commitment to improving health outcomes for Aboriginal and Torres Strait Islander peoples.
A reconciliation plan is more than a policy document – it’s a framework for meaningful action. It lays out how an organisation intends to build respectful relationships, deepen cultural understanding and create better opportunities for collaboration with First Nations communities. HRI used this event to publicly set out its goals, with a particular focus on advancing Aboriginal health through research, community involvement and culturally informed practice.
The event opened with a Welcome to Country, grounding the room in respect and signalling the significance of the moment. A series of speeches followed, each reinforcing HRI’s commitment to reconciliation and outlining the practical steps that the organisation is now taking. As a photographer, I am aware of the importance of these moments – the mix of sincerity, energy and shared purpose.
The Djurali Aboriginal health team played a central role in the afternoon’s proceedings, representing lived experience and professional expertise working with culturally responsive health initiatives. After the formalities, I was asked to photograph the team as a group, as well as make individual portraits. We made our way to a nearby park, which offered a calm and natural backdrop. The soft afternoon light and open green space helped to create a relaxed atmosphere, allowing each person’s confidence to shine through.
This assignment reminded me how meaningful photography can be when it’s tied to moments of genuine progress and community connection. Documenting events like this is not just about recording who was in attendance – it’s about acknowledging the significance of the work being done and honouring the people at its heart.
I was commissioned to photograph at Carriageworks in Eveleigh ahead of the annual Affordable Art Fair, Sydney. My brief was to focus on one of the participating galleries while staff brought artworks into the space to install in preparation for the weekend’s opening.
The image was made to accompany an article published in the Australian Financial Review (AFR)promoting the upcoming event — providing a great opportunity to give readers a glimpse behind the scenes at one of Sydney’s most popular art fairs.
Carriageworks is an inspiring venue to photograph, with its industrial textures and dramatic light, which help to create a striking backdrop for contemporary art. It was great to be able to document the period of set-up and quiet anticipation before the doors opened to the public, and the fair came to life.
I flew to Melbourne for a special shoot with Adrian Dickens, the creative force behind Circa AD Jewels, a boutique jeweller renowned for his exquisite craftsmanship and timeless designs.
Our original plan was to shoot in the lush surrounds ofFitzroy Gardens, but in true Melbourne fashion, the weather had other ideas. With rain clouds looming, we made a quick pivot and set up at a nearby apartment building — a location that turned out to be the perfect backdrop for Adrian’s stunning pieces.
The session was part of the upcoming Circa AD catalogue, showcasing Adrian’s latest collection. The ever-elegant Carmen modelled the jewellery beautifully, bringing poise and warmth to every frame, while Perri Cutten provided the smart, sophisticated fashion that perfectly complemented Adrian’s designs.
With such a talented team, excellent results were assured. The day unfolded with great energy and collaboration, and I’ve included a few out-takes and snippets below to give a sense of the atmosphere on set.
Once the final selections for the catalogue are made, I’ll be sharing another post featuring some of the finished shots — so stay tuned!
I am happy for Emily that she is getting such high profile exposure in Australia, with a work incorporating film, installation and performance at the former White Bay Power Station (not far from my studio). I’m equally happy that this means Emily will be traveling to Sydney and I will get to catch up with her once she arrives. It has been several years since our last meeting in Rome.
Jacir is a multidisciplinary artist whose primary interest lies in transformation, resistance and silenced historical narratives. She works in a variety of media including film, photography, installation, performance, video, writing, and sound. She draws on the artistic medium of concept art and social intervention as a framework for her pieces, in which she focuses on themes of displacement, exile, and Palestinian culture, primarily within the context of resilience and resistance.
Emily’s list of awards and honours, including winning “The Golden Lion” at the 2007 Venice Biennale, is too long to mention….but look up a brief biography and summary here: Emily Jacir
I am also happy to see that the portrait she chose to promote her inclusion in Sydney’s Biennale was a photo I captured in Rome. It was taken in 2016 in Trastevere, Rome. Emily loved the streets around her apartment so we shot a number of frames along those narrow, cobblestoned, historical carriageways, as well as a few images in her apartment and on the terrace.
I look forward to seeing Emily when she arrives in early 2026.
Emily on the roof terrace of her apartment with the colours of Trastevere in the background.
Every so often, I like to revisit shoots from the archive. It’s not just a chance to reflect on past projects — it’s an opportunity to rediscover images, appreciate the work again with fresh eyes, and showcase it to clients who may find relevance in it today. That was certainly the case with my 2019 shoot for Multiplex at Wonderland Central Park, located near Broadway in Sydney.
Wonderland Central Park is an iconic addition to the inner-city landscape — a striking architectural development that blends bold design, modern living, and an innovative approach to urban space. When Multiplex commissioned me to photograph the project, the goal was to capture the building’s presence, energy, and the seamless integration of architectural elements into the vibrant Central Park precinct.
Fast-forward to recently, when Allegion Australia, a Melbourne-based company responsible for the exterior, shutters on the building, reached out for imagery showcasing their work as part of the façade. Revisiting this shoot reminded me just how impressive the structure is — and how rewarding it is to create visuals that stand the test of time. Good architectural photography doesn’t just document a building; it becomes part of its story and continues to serve its purpose as an enduring image.
Looking back at the images, my focus was on scale, texture, and the way light interacted with the structure. The exterior shutters — an integral feature of the building’s character — play a key role in both form and function, and it was exciting to see this detail acknowledged and requested for industry use.
Why revisiting past work matters
As creatives, we often move quickly from one project to the next. But revisiting earlier shoots offers value in many ways, including giving fresh perspective, highlighting industrial relevance and signalling the evolution of my portfolio.
For me, it also underscores the importance of building a catalogue of commercial work that continues to support architects, builders, and suppliers long after a project is completed.
Pictured: Ellen Simpson (Choreographer), Steven Kramer (Book, music, Lyrics) & Sheridan Harbridge (Director)
Over two vibrant opening nights at The Hayes Theatre in Potts Point, I was invited to photograph guests as they arrived to celebrate the launch of Phar Lap – the brand new electro-swing musical about Australia’s beloved racehorse with the big heart.
Set against a large Phar Lap banner and the theatre’s red carpet, I photographed a stream of excited theatre-goers, cast members, and supporters as they entered the venue. This kind of photography isn’t my usual genre — I’m more often behind the lens at rehearsals and production shoots — but I really enjoyed the fast-paced, spontaneous interaction with people as they arrived. There’s something energising about these quick moments of connection: a brief exchange, a smile, and a frame that captures the anticipation of opening night.
It was a wonderful experience to be part of the buzz and celebration surrounding this fresh, lively musical that reimagines one of Australia’s most iconic stories.
Happy to hear it has been a SOLD-OUT season at the Hayes Theatre.
I’ve had the pleasure of contributing photography to the current production at the Hayes Theatre, Phar Lap – The Musical. This brand-new Australian work takes inspiration from the legendary racehorse Phar Lap and the mythology that surrounds him, blending history, humour and heart into a sharp, witty and wonderfully entertaining story.
My involvement began back in July with an initial studio shoot designed to create key promotional imagery for the production. During that session, I also captured a series of interviews with the cast, director and writer — offering insight into the creative process and the unique spirit of the show as it took shape.
Pictured: Justin Smith (plays Harry Telford, Joel Granger (plays Phar Lap), Sheridan Harbridge (Director) and Steven Kramer (Writer, music and lyrics)
More recently, I photographed the dress rehearsal, capturing the energy and visual richness of the full production. These images are now being used to further promote the season and highlight the incredible performances and vibrant staging that make this show such a standout.
I loved the music…..Phar Lap boasts an irresistible electro-swing score, with inspirations from Duke Ellington to Daft Punk. Brassy, lively and retro. I was concentrating on the photography, the angles, the action however, I found myself tapping my leg and moving to the beat.
The season is now in full swing at the Hayes, and it’s brilliant — smartly written, beautifully performed, and exceptionally funny. It’s always a thrill to collaborate with the team at Hayes Theatre and to help visually tell the story of a production that so perfectly celebrates Australian talent and storytelling.
Starring Shay Debney, Lincoln Elliott, Joel Granger, Manon Gunderson-Briggs, Amy Hack, Nat Jobe, Joey Phyland and Justin Smith.
Director Sheridan Harbridge Musical Supervisor Steven Kramer Musical Director David Gardos Choreographer Ellen Simpson Associate Director & Stage Manager Daniel Cottier Set Designer Hailley Hunt Costume Designer Mason Browne Lighting Designer Trent Suidgeest Sound Designer Liam Roche Arranger & Orchestrator Jack Earle Orchestrator & Track Producer Steve Toulmin Associate Track Producer Glenn Moorhouse Ableton/Keyboard Programmer David Youings Sound Content Designer Matty James Production Manager Damion Holling Assistant Stage Manager Nathan Sandy Sound Engineer Em-Jay Dwyer Set Design Assistant Adrien Stark Costume Design Assistant Jess Dilworth Musical Director’s Assistant Lauren Shaw Intimacy Coordinator Chloë Dallimore
I recently returned to Cumberland High School to capture the latest phase of the impressive upgrade by Roberts Co. This visit marked the completion of the latest phase of the project (there is more to come), with the final extension of classrooms now in place, alongside a brand-new high school building designed to house woodwork, technical studies, and other hands-on learning activities.
A standout addition is the state-of-the-art gymnasium and multi-purpose meeting hall, both built with a clear focus on functionality, light, and space. The architecture and finishes speak to a modern learning environment—one that feels open, inspiring, and well considered.
The transformation of Cumberland High has been remarkable to witness over the course of construction. With handover approaching, it’s easy to imagine how much the students and staff will appreciate their revitalised campus—ready for a new chapter of learning and community.
Last week I photographed an event hosted by the Heart Research Institute (HRI) in Newtown. The HRI is a world-leading medical research institute dedicated to understanding, preventing, and treating cardiovascular disease — the single biggest killer globally. Their pioneering research spans from molecular science in the lab through to clinical studies that directly improve patient care.
The evening began with a warm reception where guests gathered over food and conversation. It was a chance to connect supporters, researchers, and members of the community in a relaxed setting, before moving into the more formal part of the program.
The highlight of the night was a talk by Professor Ben Freedman, who shared his expertise and insights into cardiovascular research and, in particular, atrial fibrillation (AF) — a common but often underdiagnosed heart rhythm disorder that greatly increases the risk of stroke. Professor Freedman’s presentation was both engaging and informative, bringing clarity to a complex subject and underscoring the importance of early detection and treatment.
Adding a deeply personal dimension to the discussion, Mrs. Maggie Smith shared her lived experience of managing atrial fibrillation on a day-to-day basis. Her story offered an invaluable perspective, reminding everyone in the room of the human side of medical research and why the work of the HRI is so vital.
As the evening drew to a close, Professor Freedman demonstrated some of the latest gadgets and tools now available to help monitor “heart health.” From wearable devices to digital innovations, these practical examples gave the audience a glimpse into how cutting-edge research is translating into everyday care.
Events like this are a reminder that medical research is not just about lab results or statistics; it’s about people, their lives, and the potential for science to create healthier futures. I’m grateful to the HRI for the opportunity to document the event and witness the powerful intersection of research, community, and personal experience. Plus on a personal note, I find these subjects extremely interesting as it reminds me of the passion I had as a young science student, studying pharmacology and immunology at Monash University…in another lifetime.
I recently had the opportunity to photograph the newly converted Amazon warehouse at Chullora, a massive facility that speaks to the scale and precision of modern logistics. This project, delivered by Mainbrace Constructions, highlights their reputation as one of Australia’s leading builders, known for managing large and complex retail and industrial projects across the country.
Walking into the site, I was immediately struck by the immensity of the space. The vast interior is laid out with bays for trucks, an intricate system of conveyor belts, and a network of machinery designed to ensure the smooth and rapid movement of parcels. Every detail is engineered for efficiency—an invisible but vital backbone of our daily lives in the city.
I chose to shoot into dusk, when the fading light softens the enormity of the structures, and the artificial glow inside the warehouse begins to dominate the scene. The interplay of natural and industrial light creates a calm, almost cinematic atmosphere, balancing the sheer scale of the operation with a sense of quiet focus.
Complexes like this are essential services that underpin the way we live. They allow the seamless flow of goods—everything from household staples to urgent deliveries—that we’ve come to expect as part of our fast-paced urban lives. Photographing this site was a reminder of how these unseen logistics hubs keep our cities moving, even if they’re tucked away in industrial zones on the edge of town.
I recently photographed Marie Mattinson from Bentley Estate Agents in Potts Point, Sydney. Marie has just joined the team in her new role as Sales Associate, bringing her own experience and expertise to the agency.
The team is excited to welcome her on board as Bentley Estate Agents continues to grow and expand its services. The addition of Marie’s portrait to the company profiles marks a moment of transition and progress – a new chapter not only for Marie but also for the agency as a whole.
The team at Bentley Estate Agents, from right to left: Marie Mattinson, Taisei (Cody) Sawada, Francesco (Frank) Colacicco, Tanya Hatton, Kostantinos (Kosta) Gravanis and Florencia Castillo.
Australian singer, songwriter, and performer Prinnie Stevens has long been celebrated for her powerhouse vocals, magnetic stage presence, and versatility across soul, R&B, pop, and musical theatre. From her standout performances on The Voice to starring roles in stage productions and her acclaimed show Lady Sings the Blues, Prinnie has built a reputation as one of the country’s most dynamic and inspiring artists.
We were back in my Lilyfield studio for a fresh round of photos, based on new ideas and forthcoming shows. Prinnie’s creative energy and professionalism always make for a dynamic shoot, and this session was no exception.
We reunited the same team who worked together on her stunning Lady Sings the Blues campaign — myself behind the camera and our brilliant make-up and hair by Joe and Drew, from The Glow up Headquarters (instagram: @theglowuphq). It’s a combination that clicks, bringing the right balance of skill, trust, and fun into the room.
The day flowed with laughter, music, and plenty of creativity. Shoots like this remind me how rewarding it is to collaborate with talented and committed professionals. When everyone brings their best, the results speak for themselves — beautiful, powerful imagery that captures Prinnie at her absolute best.
I can’t wait to share the finished selected images from this session. In this blog I’ve posted a few out-takes for a behind the scenes look at the shoot.
I was recently commissioned by ESR, a leading developer, owner, and manager of industrial and logistics real estate. With projects spanning across the Asia-Pacific region, ESR creates the kind of infrastructure that underpins how our cities function — from the warehouses that store goods to the distribution centres that keep supply chains moving.
My latest shoot for them took me to Wetherill Park, where ESR has completed a new warehouse complex made up of four distinct buildings. These immense structures rise from the western Sydney landscape, commanding attention not just through their size but through their purpose — serving as vital arteries in the logistics network of a growing city.
I began shooting in the afternoon and worked until dusk, when the light grew softer. The quiet transition from day to evening is one of my favourite times to photograph; the stillness of the outer west makes you pause and reflect on just how much infrastructure is required to sustain the concentrated population closer to the city’s centre. For most of us, this vast logistical framework remains invisible, yet it is essential to the way we live and work every day.
From a technical standpoint, photographing warehouses of this scale demands careful attention to form and structure. These buildings are geometric and monumental, so framing becomes about emphasising clean lines, proportions, and the relationship between the built form and the surrounding landscape. Light is another critical consideration — harsh midday sun can flatten the details, while late afternoon and evening light adds dimension and mood. Managing exposure is also key: balancing shadow and highlight to preserve detail across such expansive façades.
I enjoy photographing these structures which are neither decorative nor ornamental. They embody purpose, efficiency and scale – qualities that, when seen through the lens, reveal their own quiet beauty.
I have been shooting the work of Charles Cooper over many years and more recently a new collection which he is about to show at Annandale Galleries. Charles is a seasoned mid-career Australian artist with an impressive exhibition history.
“Geographics 2025” – Charles Cooper at Annandale Galleries Exhibition Dates: 17 September – 18 October 2025 Venue: Annandale Galleries, 110 Trafalgar Street, Annandale, Sydney Charles Cooper
Cooper returns to Annandale Galleries for his third solo exhibition at the space, following the notable On Location show in 2022 Annandale Galleries – Charles Cooper.
Geographics 2025 is Cooper’s latest body of work explores the tension between urban order and natural entropy. His paintings turn the everyday cracks and repair lines of city roads into compelling studies of texture, colour, and abstraction. As curator Andrew Christie writes, Cooper “plants the seed of perception” — drawing viewers close to appreciate minute detail before inviting them to step back, revealing subtly modulated abstractions that pulse within everyday surfaces.
Born in Sydney in 1952, Cooper has built a distinguished career of solo and group exhibitions both nationally and internationally, while also teaching drawing at the National Art School Annandale GalleriesAnnandale GalleriesMutualArt.
