{{short description|Australian bi-monthly photography periodical 1977-78}} {{Italic title}} '''''Light Vision''''' was a bi-monthly Australian photography magazine that existed between 1977 and 1978.<ref>{{Citation | title=Light vision : Australia's international photography magazine | publication-date=1977 | publisher=Light Quest Publications | issn=0314-867X }}</ref>
==Foundation and duration== ''Light Vision'' magazine, subtitled "Australia’s international photography magazine", was launched in September 1977,<ref name=":1">{{Citation | author1=Visual Studies Workshop | title=Afterimage | publication-date=1977 | volume=5 |page=133|publisher=Visual Studies Workshop | issn=0300-7472 }}</ref> and though it lasted only eight issues, it made a more lasting impression on Australian photography than previous periodicals.<ref name=":0">Print Letter No.25 Jan/Feb. 1980, Vol 5, No.1, 8-9</ref><ref>Downer, Christine. "Photography in Australia: a select bibliography." History of Photography 23, no. 2 (1999): 192-197.</ref><ref>Ely, Deborah. "The Australian centre for photography." History of photography 23, no. 2 (1999): 118-122.</ref> 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."<ref>Light Vision, issue 1, 1977</ref>
== Personnel == Jean-Marc Le Pechoux (born 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.<ref>{{Citation | author1=Browne, Turner | author2=Partnow, Elaine | title=Macmillan biographical encyclopaedia of photographic artists and innovators | year=1983 | publication-date=1983 | publisher=Macmillan; London : Collier Macmillan | isbn=978-0-02-517500-6 }}</ref> 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<!--not the British born 1966-->; 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;
<blockquote>A large international corporation [<nowiki/>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.</blockquote>
Identified by photojournalist Geoff Strong as “that ''haute couture'' of Australian photographic magazines”,<ref>{{Citation | author1=Bennett, David | author2=Agee, Joyce | author3=Victorian Centre for Photography | author4=Strong, Geoff | title=The thousand mile stare : a photographic exhibition | publication-date=1988 | publisher=The Victorian Centre for Photography Inc | isbn=978-0-7316-2054-8 }}</ref> ''Light Vision'' was glossily printed by Norman J. Field & Co Pty Ltd in Richmond,<ref>Australian Book Review, Issues 1-27, 1978, p.33. P. Isaacson Publications.</ref> 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).<ref>{{Cite web|url=https://www.measuringworth.com/calculators/australiacompare/relativevalue.php|title=Five Ways to Compute the Relative Value of Australian Amounts, 1828 to the Present|last=|first=|date=|website=Measuring Worth|archive-url=|archive-date=|access-date=}}</ref> 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.<ref>{{Citation | title=Light vision | publication-date=1977 | publisher=Light Quest Publications | issn=0314-867X }}</ref>
== 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'';<ref>{{Citation | author1=Winogrand, Garry | author2=Bishop, Helen Gary | title=Women are beautiful | year=1975 | publication-date=1975 | publisher=Farrar, Straus & Giroux | isbn=978-0-374-51301-6 }}</ref> ''Sex Objects: An American Documentary''<ref>{{Citation | author1=Kroll, Eric | title=Sex objects : an American photodocumentary | year=1977 | publication-date=1977 | publisher=Addison House | isbn=978-0-89169-016-0 }}</ref> by photographer Eric Kroll (misspelt 'Knoll' throughout the review); and Les Krims' ''Fictcryptokrimsographs'',<ref>{{Citation | author1=Krims, Leslie | title=Fictcryptokrimsographs : a book-work | publication-date=1975 | publisher=Humpy Press | url=https://trove.nla.gov.au/work/11469246 | accessdate=25 November 2019 }}</ref> while devoting a scant paragraph to Kelly Wise's ''Still Points'' (rendered 'Stillpoints' in the review).<ref>{{Citation | author1=Wise, Kelly | title=Still points | year=1977 | publisher=Addison House Publishers, 1977 | isbn=978-0-89169-014-6 }}</ref> In the next issue Robert Rooney joined Perry to compare Helmut Newton's ''White Women''<ref>{{Citation | author1=Newton, Helmut | author2=Feitler, Bea | title=White women | year=1976 | publication-date=1976 | publisher=Stonehill | isbn=978-0-88373-053-9 }}</ref> with ''Edward Weston Nudes''<ref>{{Citation | author1=Weston, Edward | author2=Wilson, Charis, 1914- | title=Edward Weston nudes his photographs accompanied by excerpts from the Daybooks & letters | year=1977 | publication-date=1977 | publisher=New York Aperture | isbn=978-0-89381-026-9 }}</ref> and included a European with ''Herbert List Photographen'' (sic) ''1930-1970'',<ref>{{Citation | author1=List, Herbert | author2=Metken, Günter, 1928- | title=Herbert List Photographien 1930-1970 | publication-date=1976 | publisher=Die Neue Sammlung | url=https://trove.nla.gov.au/work/18679536 | accessdate=25 November 2019 }}</ref> and photodocumentary in Americans Mark and Dan Jury's ''Gramp.''<ref>{{Citation | author1=Mark Jury | author2=Jury, Dan, joint author | title=Gramp | year=1976 | publication-date=1976 | publisher=New York Grossman Publishers | isbn=978-0-670-00602-1 | url-access=registration | url=https://archive.org/details/grampphotographs00jury }}</ref>
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,<ref>{{Citation | author1=Hine, Lewis Wickes | author2=Trachtenberg, Alan, 1932- | author3=Israel, Marvin | author4=Trachtenberg, Alan | author5=Brooklyn Museum | title=America & Lewis Hine : photographs 1904-1940 | publication-date=1977 | publisher=Aperture Foundation, Inc | isbn=978-0-89381-017-7 }}</ref> Robert Adams,<ref>{{Citation | author1=Adams, Robert | title=The new west | year=2000 | publication-date=2001 | publisher=Walter König; Manchester : Cornerhouse | isbn=978-3-88375-461-1 }}</ref> William Eggleston,<ref>{{Citation | author1=Eggleston, William | author2=Szarkowski, John | author3=Museum of Modern Art (New York, N.Y.) | title=William Eggleston's guide | year=1976 | publication-date=1976 | publisher=Museum of Modern Art | isbn=978-0-87070-317-1 }}</ref> Lewis Baltz<ref>{{Citation | author1=Baltz, Lewis | title=The new industrial parks near Irvine, California = Das neue Industriegelände in der Nähe von Irvine, Kalifornien | publication-date=1974 | publisher=Leo Castelli/Castelli Graphics | url=https://trove.nla.gov.au/work/16755961 | accessdate=25 November 2019 }}</ref> and others dealing with urban and rural landscape and the 'New Topographics'.<ref>{{Citation | author1=Lyons, Nathan | author2=Hume, Sandy | author3=Manchester, Ellen | author4=Metz, Gary | title=The great West : real, ideal | publication-date=1977 | publisher=Department of Fine Arts, University of Colorado | url=https://trove.nla.gov.au/work/11704187 | accessdate=25 November 2019 }}</ref>
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. {| class="wikitable" |+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''<nowiki/>'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.<ref name=":0" /> 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<ref>Gaskins, Bill 'PHOTOGRAPHY IN AUSTRALIA’. The British Journal of Photography, Mar 10, 1978; 125</ref> 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,<ref>Batchen, G. (1995). Max Dupain: Sunbakers. History of Photography, 19(4), 349-357.</ref> with Dupain himself contributing an essay in ''Light Vision'' issue 5.<ref>[https://www.photo-web.com.au/dupain/lightvison/default.htm2017 Online version of the 1978 essay originally published in ''Light Vision'' issue 5] provided by Gael Newton</ref> Such exposure, and that of the young Bill Henson in two issues<ref>Light Vision, Nos. 6-7, 1978.</ref> raised the profile of Australian photography in the UK.<ref>{{Citation | author1=Batchen, Geoffrey | title=Each wild idea : writing, photography, history | publication-date=2000 | page= 100 | publisher=MIT Press | isbn=978-0-262-26789-2 }}</ref> The magazine played a role in setting Australian photography and photographers in an international context<ref name=":1" /> and in publicising their work overseas<ref>Sontag, Milar, Brohaugh, Carroll, Frobisch, Lamprecht, . . . The Nikon Manual. (1978). Photography. Communication Booknotes, 10(1), 16-19.</ref> in a quality publication.<ref>{{Citation | author1=Ennis, Helen | title=Photography and Australia | year=2007 | publication-date=2007 | page=115 | publisher=Reaktion Books | isbn=978-1-86189-323-9 }}</ref><ref>{{Citation | author1=Pam, Max, 1949- | title=Visual instincts : contemporary Australian photography | year=1989 | publication-date=1989 | publisher=AGPS Press | isbn=978-0-644-10597-2 }}</ref>
==References== {{Reflist}}
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{{DEFAULTSORT:Light Vision}} Category:1977 establishments in Australia Category:1978 disestablishments in Australia Category:Bi-monthly magazines published in Australia Category:Defunct photography magazines published in Australia Category:Magazines established in 1977 Category:Magazines disestablished in 1978 Category:Magazines published in Melbourne