Jump to content

Light Vision

Add links
From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Citation bot (talk | contribs) at 11:21, 27 September 2023 (Removed parameters. | Use this bot. Report bugs. | #UCB_CommandLine). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Light Vision was a bi-monthly Australian photography magazine that existed between 1977 and 1978.[1]

Foundation and duration

Light Vision magazine, subtitled "Australia’s international photography magazine", was launched in September 1977,[2] and though it lasted only eight issues, it made a more lasting impression on Australian photography than previous periodicals.[3][4][5] In its first editorial, the magazine proclaims its purpose to become the "publishing outlet, key to large exposure, in this country reaching the level of quality which could trigger the international recognition that we need and deserve."[6]

Personnel

Jean-Marc Le Pechoux (1953—), who had studied at Stage Experimental Photographique and who, from 1971 to 1974, was a freelance photographer in Paris, came to Australia and taught at Prahran College of Advanced Education and Photography Studies College in Melbourne from 1974 to 1976.[7] Deciding to make the southern city his home, he recognised the need for a high quality magazine. He taught himself the trade of editor/publisher and set up Light Quest Publications in the front room of his home at 75 Wilson Street, South Yarra.

Producing the magazine, and responsible for the design and masthead, were Le Pechoux and partner Kalli Pulos, credited as 'editorial assistant' but who really was publisher, and never more than four paid casual staff, alongside correspondents from Europe and America and an increasing number of advisors, national and international: Associate Editor and 'Sydney Editor': Steven Lojewski ; Art Director: David Lancashire, then from issue 2, Lin Bender; Los Angeles Correspondent: Graham Howe; Paris Correspondent: Dominique Anginot; Adelaide: Ed Douglas; Perth: Miles Glanville; Hobart: Geoff Parr

The magazine

In his first editorial Jean-Marc Le Pechoux surveyed the emergent, positive situation for photography in Australia;

A large international corporation [Philip Morris International] has recently compiled a collection of works by Australian photographers. In Melbourne alone during the last few months the public could have seen the works of J. M. Cameron, E. J. Bellocq, Jan Saudek, Lee Freidlander, Ralph Gibson or John Cato. National Galleries are collecting photographs. Colleges, public and private art schools and workshops provide varied avenues for the study of photography and many bookshops are importing and retailing fine books on the medium. A national conference on photography will be held in Sydney this month and finally, in Melbourne, the first dealer gallery of international standing to open doors in this country was inaugurated last month.

Identified by photojournalist Geoff Strong as “that haute couture of Australian photographic magazines”,[8] Light Vision was glossily printed by Norman J. Field & Co Pty Ltd in Richmond,[9] reproducing photographers' prints full page, and tackling photographic theory in essays, and in reviews of such contemporary texts as Susan Sontag's On Photography (1977). However, as a result of the cost of such support for the local printing industry, its cover price was the cover price was $2.70  which was at the high end of affordability at the time ($A15-$20 equivalent in 2019).[10] The double issue 6&7 was $5. Annual subscriptions within Australia were $15.00 for the six issues, with postage, Air Mail to New Zealand was $A28.00 and to other countries $A34.00. Surface mail to all countries was $A19.00.[11]

Content

The magazine honoured its title Australia's international photography magazine with representations of American or European photography alongside Australian examples in most issues. More established photographers in their late thirties to late sixties dominated until the double number 6&7 of 1978 devoted to new Australian work. That featured 21 artists born around 1950 and with an average age of 26; the youngest, John Adair, being eighteen and the oldest, John Cerchi, thirty-four. Many, Fiona Hall, Sandy Edwards, Bill Henson amongst them, went on to important careers. Selectors were American William Clift; Christine Godden Director and Michael Snelling Administrator, of the Australian Centre for Photography; William Heimerman and Ian Lobb, directors of The Photographers' Gallery and Workshop; and Jean-Marc Le Pechoux and Steven Lojewski for Light Vision. The magazine worked in partnership with its near neighbour 1.5 km across South Yarra, The Photographers' Gallery, who mounted an exhibition New Australian Work with the selected imagery, which toured.

Book reviews, located in its off-white matt pages fore and aft, did not start to feature until issue 3, when the magazine appraised Craft Australia and Theatre Australia in a report on its joining an association of 'smaller magazines'. Artist and photography lecturer Tony Perry, in the 4th number, reviewed the American publications On Photography by Susan Sontag; Garry Winogrand's Women Are Beautiful;[12] Sex Objects: An American Documentary[13] by photographer Eric Kroll (misspelt 'Knoll' throughout the review); and Les Krims' Fictcryptokrimsographs,[14] while devoting a scant paragraph to Kelly Wise's Still Points (rendered 'Stillpoints' in the review).[15] In the next issue Robert Rooney joined Perry to compare Helmut Newton's White Women[16] with Edward Weston Nudes[17] and included a European with Herbert List Photographen (sic) 1930-1970,[18] and photodocumentary in Americans Mark and Dan Jury's Gramp.[19]

In the penultimate issue, in which three women photographers' books are considered, the pair are negative on Norman Sanders' At Home and in reviewing, for the first and only time an Australian volume, Timeless Gardens by Eleanor Williams and Wes Stacey, while reserving praise for Arnold Gassan's fourth edition of Handbook for Contemporary Photography, and the coffee table glossy Album Cover Album: The book of Record Cover Jackets, Maureen Lambray's The American Film Directors, and Barbara Blondeau 1938-1974. They finish with strong commendations for the Swiss photography journal Print Letter, while criticising Camera for its recent concentration on American photography, though Perry himself, in the last edition of Light Vision, topically covers exclusively American books of work by Lewis Hine,[20] Robert Adams,[21] William Eggleston,[22] Lewis Baltz[23] and others dealing with urban and rural landscape and the 'New Topographics'.[24]

Unlike its treatment of books, on the numbers Light Vision was more equitable in inclusion of Australian photographers in its presentation of multiple-page 'folios' of individual photographers' work, even without taking into the calculation the 'Special Australian Edition'. Though there is no women's work presented in portfolios, the glossy colour printing as faithfully reproduces, effectively in tri-tone, the monochrome antipodean imagery of John Cato, Paul Cox, Phillip Quirk, Graham Howe and John Williams, the warmth of Robert Besanko's Kodalith paper, and Max Dupain's toned prints of the 1930s, as it does American Christian Vogt's saturated SX-70 and 8"x10" Polaroids. A full page is usually devoted to each image, with generous white borders allowing decent presentation of both landscape- and portrait-oriented images.

Critical and art-historical writing was building strength before the demise of Light Vision, with extended contributions from significant authorities, Australian and international, of both genders; Beatrice Faust, Peter Turner, Gael Newton, Memory Holloway and in the last issue, Max Kozloff.

Contents:
Issue # Date Page Author/Photographer Item
1 September–October, 1977 Cover John Cato Untitled 3
4 Peter Turner Ralph Gibson interview
5 Ralph Gibson Images from Days at Sea
10 Rennie Ellis On looking at photographs
12 John Cato Proteus
21 Athol Shmith John Cato
22 Dominique Anginot Arles
24 Philip Quirk From Kipling to the Letter
30 Review Two photographic schools
32 Calendar Exhibitions and Education
2 November–December, 1977 Cover William Clift Old St. Louis Courthouse, Missouri
3 Beatrice Faust No more paper
4 Peter Turner On Quality
12 George Hampel Court room reflections
13 William Clift Court-house series
22 John Riches The Print
24 Paul Cox Interview and Photographs
30 Deborah Guyon Sydney, a conference
32 Calendar Exhibitions and Education
3 January–February, 1978 Cover Robert Besanko 1975, untitled
3 Reviews MAG News
4 Robert Besanko Folio
13 Peter Burch Photography Auction
14 Peter Perry Onto the curator's desk
19 Graham Howe Sneaker in the Sky
30 Calendar Exhibitions and Education
31 Announcement Singular Visions
4 March–April, 1978 Cover Christian Vogt 8x10 Polacolor 2
4 John Williams Folio
13 Bob Pile Redefining the photo essay
18 Tony Perry Book Reviews
20 Eelco Wolf Christian Vogt
21 Christian Vogt Folio
30 Information News
31 Calendar Exhibitions
31 Letters Readers
5 May–June Cover Max Dupain The Sunbaker, 1937
4 Mark Hindraker Beaumont Newhall
6 Max Dupain Portfolio
25 Gael Newton Max Dupain
28 Tony Perry and Robert Rooney Book Reviews
30 Information News
32 Letters Readers
6 & 7 July–October 1978: Special Australian Edition Cover Ian Cerchi untitled
4 Memory Holloway Introduction
7 Photographers Biographies
9 Photographers Plates
50 Tony Perry and Robert Rooney Book reviews
52 Information Directory
8 November–December, 1978 Cover Bruno Requillart Versailles, 1978
4 Robbert Flick Midwest and Inglewood
13 Max Kozloff A Problem of Photographic Perception
16 Tony Perry Books
18 Suzanne Hampel Venice Biennale 1978
20 Bruno Requillart Versailles
29 Information News

Demise

The expensive cover price required to cover Light Vision's high quality of production, the new and relatively limited audience for art photography in Australia, compounded by its removal after issue 4 from the stock of the bookshop of a major public gallery, on the basis of the appearance of pubic hair in a controversial image by Christian Vogt in issue 4, all contributed to the magazine's premature demise.[3] Though not announced in its pages, Issue 8 was to be the last.

Influence

During Creative Camera editor Peter Turner’s visit to Australia in 1977[25] he met Jean-Marc Le Pechoux and significantly, Max Dupain’s The Sunbaker was featured on the covers of both Light Vision and Creative Camera in 1978,[26] with Dupain himself contributing an essay in Light Vision issue 5.[27] Such exposure, and that of the young Bill Henson in two issues[28] raised the profile of Australian photography in the UK.[29] The magazine played a role in setting Australian photography and photographers in an international context[2] and in publicising their work overseas[30] in a quality publication.[31][32]

References

  1. ^ Light vision : Australia's international photography magazine, Light Quest Publications, 1977, ISSN 0314-867X
  2. ^ a b Visual Studies Workshop (1977), Afterimage, vol. 5, Visual Studies Workshop, p. 133, ISSN 0300-7472
  3. ^ a b Print Letter No.25 Jan/Feb. 1980, Vol 5, No.1, 8-9
  4. ^ Downer, Christine. "Photography in Australia: a select bibliography." History of Photography 23, no. 2 (1999): 192-197.
  5. ^ Ely, Deborah. "The Australian centre for photography." History of photography 23, no. 2 (1999): 118-122.
  6. ^ Light Vision, issue 1, 1977
  7. ^ Browne, Turner; Partnow, Elaine (1983), Macmillan biographical encyclopaedia of photographic artists and innovators, Macmillan ; London : Collier Macmillan, ISBN 978-0-02-517500-6
  8. ^ Bennett, David; Agee, Joyce; Victorian Centre for Photography; Strong, Geoff (1988), The thousand mile stare : a photographic exhibition, The Victorian Centre for Photography Inc, ISBN 978-0-7316-2054-8
  9. ^ Australian Book Review, Issues 1-27, 1978, p.33. P. Isaacson Publications.
  10. ^ "Five Ways to Compute the Relative Value of Australian Amounts, 1828 to the Present". Measuring Worth.
  11. ^ Light vision, Light Quest Publications, 1977, ISSN 0314-867X
  12. ^ Winogrand, Garry; Bishop, Helen Gary (1975), Women are beautiful, Farrar, Straus & Giroux, ISBN 978-0-374-51301-6
  13. ^ Kroll, Eric (1977), Sex objects : an American photodocumentary, Addison House, ISBN 978-0-89169-016-0
  14. ^ Krims, Leslie (1975), Fictcryptokrimsographs : a book-work, Humpy Press, retrieved 25 November 2019
  15. ^ Wise, Kelly (1977), Still points, Addison House Publishers, 1977, ISBN 978-0-89169-014-6
  16. ^ Newton, Helmut; Feitler, Bea (1976), White women, Stonehill, ISBN 978-0-88373-053-9
  17. ^ Weston, Edward; Wilson, Charis, 1914- (1977), Edward Weston nudes his photographs accompanied by excerpts from the Daybooks & letters, New York Aperture, ISBN 978-0-89381-026-9{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  18. ^ List, Herbert; Metken, Günter, 1928- (1976), Herbert List Photographien 1930-1970, Die Neue Sammlung, retrieved 25 November 2019{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  19. ^ Mark Jury; Jury, Dan, joint author (1976), Gramp, New York Grossman Publishers, ISBN 978-0-670-00602-1 {{citation}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link)
  20. ^ Hine, Lewis Wickes; Trachtenberg, Alan, 1932-; Israel, Marvin; Trachtenberg, Alan; Brooklyn Museum (1977), America & Lewis Hine : photographs 1904-1940, Aperture Foundation, Inc, ISBN 978-0-89381-017-7{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  21. ^ Adams, Robert (2000), The new west, Walter König ; Manchester : Cornerhouse (published 2001), ISBN 978-3-88375-461-1
  22. ^ Eggleston, William; Szarkowski, John; Museum of Modern Art (New York, N.Y.) (1976), William Eggleston's guide, Museum of Modern Art, ISBN 978-0-87070-317-1
  23. ^ Baltz, Lewis (1974), The new industrial parks near Irvine, California = Das neue Industriegelände in der Nähe von Irvine, Kalifornien, Leo Castelli/Castelli Graphics, retrieved 25 November 2019
  24. ^ Lyons, Nathan; Hume, Sandy; Manchester, Ellen; Metz, Gary (1977), The great West : real, ideal, Department of Fine Arts, University of Colorado, retrieved 25 November 2019
  25. ^ Gaskins, Bill 'PHOTOGRAPHY IN AUSTRALIA’. The British Journal of Photography, Mar 10, 1978; 125
  26. ^ Batchen, G. (1995). Max Dupain: Sunbakers. History of Photography, 19(4), 349-357.
  27. ^ Online version of the 1978 essay originally published in Light Vision issue 5 provided by Gael Newton
  28. ^ Light Vision, Nos. 6-7, 1978.
  29. ^ Batchen, Geoffrey (2000), Each wild idea : writing, photography, history, MIT Press, p. 100, ISBN 978-0-262-26789-2
  30. ^ Sontag, Milar, Brohaugh, Carroll, Frobisch, Lamprecht, . . . The Nikon Manual. (1978). Photography. Communication Booknotes, 10(1), 16-19.
  31. ^ Ennis, Helen (2007), Photography and Australia, Reaktion Books, p. 115, ISBN 978-1-86189-323-9
  32. ^ Pam, Max, 1949- (1989), Visual instincts : contemporary Australian photography, AGPS Press, ISBN 978-0-644-10597-2{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Light_Vision&oldid=1177383927"