National Photographic Portrait Prize 2019

National Portrait Gallery

A learning resource exploring select works from the National Photographic Portrait Prize 2019 (NPPP 2019) for secondary students.

KB Bailey, Isabella Capezio, 2018, From the collection of: National Portrait Gallery
How to use the learning resource
This learning resource consists of questions to encourage critical engagement with individual portraits, the NPPP 2019 exhibition and portrait photography more broadly. The resource is designed for secondary school students, to be used individually or in a collaborative environment to enable group discussion. 
Support system, Madeline Bishop, 2018, From the collection of: National Portrait Gallery
National Photographic Portrait Prize 2019
The NPPP reflects the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of the individuals depicted. The judges for 2019 included Dr Christopher Chapman, Senior Curator, National Portrait Gallery, Anne O’Hehir, Curator of Photography, National Gallery of Australia, and Hoda Afshar, photographer, and winner of the NPPP 2015. The winner and highly commended were chosen from 39 finalists selected from over 3000 entries.
Untitled 11, Daniel Boetker-Smith, 2018, From the collection of: National Portrait Gallery
But what makes a portrait?
The photographers in the NPPP 2019 have approached the idea of portraiture in a variety of ways... 
Lost, Jay Hynes, 2018, From the collection of: National Portrait Gallery

Compare these images.

What do you consider a portrait to be?

The entry criteria for the award states that the entry must be a portrait in a broad sense - being a recognisable image of an individual person or group.

Do you agree with this statement? If so, what is your reasoning?

Celia inside a watchtower, Wouter Van de Voorde, 2018, From the collection of: National Portrait Gallery

Are these all portraits?

Which images do you consider to be the most or least ‘traditional’ portraits?

Simon, Docklands., Alan Weedon, 2018, From the collection of: National Portrait Gallery

What atmosphere has the photographer created? What techniques have been used to achieve this?

What do you think this portrait says about the person depicted, the photographer or contemporary society?

Nelson Earl - Dance - The Ephemeral Art, Straithfield, Kellie Leczinska, 2018, From the collection of: National Portrait Gallery

What do you notice most in this portrait?

What clues are in the portrait to tell you about this person?

Nelson Earl - Dance - The Ephemeral Art, Straithfield, Kellie Leczinska, 2018, From the collection of: National Portrait Gallery

What further information can you find about the sitter from the portrait’s title and artist’s statement?

Nelson Earl: Dance – the ephemeral art, Strathfield, 2018 by Kellie Leczinska

Nelson began his career with the Sydney Dance Company as a Pre-Professional Year dancer, in 2015, and has since become a full member of the company. During the shoot Nelson discussed the ephemeral nature of performance – a fleeting look into surrender and absolute resonance between mind, body and the viewer. Dance exists in each split second of the moment and then evaporates; it is the quintessential art. Nelson’s performances have earned rave reviews and he was nominated for Best Male Dancer at the 2018 Helpmann Awards. My portrait reveals the highly disciplined architecture of Nelson’s body and his sensitive gaze.


Nelson Earl - Dance - The Ephemeral Art, Straithfield, Kellie Leczinska, 2018, From the collection of: National Portrait Gallery

Watch the video of Nelson Earl.

Would you consider the video a portrait?

What are the differences, benefits or challenges of moving digital portraits compared with still photographs?

Willem, Julian Kingma, 2017, From the collection of: National Portrait Gallery
Relationships
The NPPP 2019 finalists explore and involve a wide range of relationships.
My Brother’s family, Joel Pratley, 2018, From the collection of: National Portrait Gallery

This portrait includes the relationships between the family members photographed, the family and the photographer (who is a family member), and the viewers of the image.

My Brother’s family, Joel Pratley, 2018, From the collection of: National Portrait Gallery

Do you think the type of relationship between the photographer and sitter makes a difference?

What ethical responsibilities do you think photographers have to people they photograph?

Dayannah, Raphaela Rosella, 2018, From the collection of: National Portrait Gallery

What does Dayannah’s facial expression and body pose tell you about how she feels about being looked at by the photographer or viewer?

Dayannah, Raphaela Rosella, 2018, From the collection of: National Portrait Gallery

Why do you think Dayannah is posed in front of other portraits?

How are they similar or different to the portrait of Dayannah herself?

Dayannah, Raphaela Rosella, 2018, From the collection of: National Portrait Gallery

This photograph is part of a project, ‘You’ll Know It When You Feel It.’

‘I have spent over a decade creating image-based collaborative works to amplify the lived experiences of women in my life, as they grapple with the complexities and intergenerational cycle of disadvantage in Australia.’

Hear Raphaela Rosella discuss this project.

Stephen Dupont, Simon Harsent, 2018, From the collection of: National Portrait Gallery
Identity
Portraits can give insights into individuals’ and group identities. 
Jackie, Katrin Koenning, 2018, From the collection of: National Portrait Gallery

What clues about Jackie’s identity can you discover in her portrait?

Jackie, Katrin Koenning, 2018, From the collection of: National Portrait Gallery

What objects would you include in a self-portrait to express your identity?

Jackie, Katrin Koenning, 2018, From the collection of: National Portrait Gallery

Learn more about the photographer, Katrin Koenning's practice and what drives her as a photographer.

Black Dog, Jamila Toderas, 2018, From the collection of: National Portrait Gallery

Take a look through this year’s finalists.

Can you find any commonalities, connections or themes which suggest something about the broader Australian identity?

Abdullah in his room, Max Mason-Hubers, 2018, From the collection of: National Portrait Gallery
Saying something
Portrait photography can be used to make political statements. 
Morteza Arefifar, Manus Island Detention Centre, Adam Ferguson, 2017, From the collection of: National Portrait Gallery

Look closely at Morteza Arefifar’s face and body pose, the setting and use of light and shade.

What do you think Morteza or the photographer is trying to communicate in this portrait?

Morteza Arefifar, Manus Island Detention Centre, Adam Ferguson, 2017, From the collection of: National Portrait Gallery

Examine this year’s finalists.

Can you find any other portraits that may be considered to have political messages shared by the artist?

Raynen, Tristan Still, 2018, From the collection of: National Portrait Gallery
Why photography? 
'There is a foundational truth: we need photographs of our world, of each other, to confirm our own existence to ourselves as human beings. Photography makes our perception of space and objects, and of human beings, meaningful.' Dr Christopher Chapman, NPPP 2019 judge.
Mirror identical twins with autism, Sarah Rhodes, 2018, From the collection of: National Portrait Gallery

In his essay, Dr Christopher Chapman describes three ways to look at a photograph.

He discusses the potential of photographs to evoke empathy, that their ‘natural truth-to-appearance’ can be deceptive, and that our seeming obsession with photographs could be linked with our need to both ‘stave off and process the inevitability of death’.

Zara, 18, Babinda, FNQ, Lee Grant, 2018, From the collection of: National Portrait Gallery

What do Zara’s facial expression, body pose, and the scene in which she has been photographed communicate about the emotions she may be experiencing?

Zara, 18, Babinda, FNQ, Lee Grant, 2018, From the collection of: National Portrait Gallery

Do you ever have similar feelings to Zara’s – can you empathise with her?

Helen Garner in her kitchen, Mia Mala McDonald, 2018, From the collection of: National Portrait Gallery

This image of Helen Garner in her kitchen may appear uncomplicated and ‘truthful.

But what choices do you think the photographer has made when creating the portrait?

What techniques can photographers use to make a portrait more glamorous or dramatic to give a different impression of the sitter?

Bum Fluff, Jodi McConaghy, 2017, From the collection of: National Portrait Gallery

The NPPP 2019 finalists include a significant number of portraits of young people, capturing and preserving moments in childhood, which potentially work to ‘stave off’ ageing and death.

Bum Fluff, Jodi McConaghy, 2017, From the collection of: National Portrait Gallery

Artist statement by the photographer, Jodi McConaghy:

This photograph, of Clay McConaghy, is entitled ‘Bum fluff’. I wanted to create a portrait of my fourteen year-old son before he shaved his facial hair for the first time. He is slowly morphing from childhood, through adolescence, and into adulthood. To me, this image captures the last vestiges of Clay’s innocence, his trust in me as a photographer and mother, his youthful face and physique, but also his ever-growing maturity and individuality.

What do you think the photographer is trying to capture and preserve, and why?

Taking the waters, Rachel Peachey, 2018, From the collection of: National Portrait Gallery

Can you find any photographs taken of you as a child? Why do you think they were taken?

Compare photographs of you as a child, with ones of you now.

What differences and similarities can you see in the way you interact with the camera, photographer or viewer?

Adam, Craigieburn, Yask Desai, 2018, From the collection of: National Portrait Gallery

Why do you think making or viewing portraits is important?

Why or how do you use pictures of people in your life?

Greta In Her Kitchen, 36 weeks, Alana Holmberg, 2018, From the collection of: National Portrait Gallery
And the winners are...
Greta In Her Kitchen, 36 weeks, Alana Holmberg, 2018, From the collection of: National Portrait Gallery

The winner for 2019 is 'Greta In Her Kitchen, 36 weeks,' by Alana Holmberg.

‘This unconventional portrait is quiet and contemplative. The judges agreed that a compelling portrait photograph could be one that conveys a reflective moment experienced by many. The quality of light, the composition of the image and the subtle communication of the narrative combine to create an inner world.’

Dr Christopher Chapman, one of the judges, describing the winning portrait.

Greta In Her Kitchen, 36 weeks, Alana Holmberg, 2018, From the collection of: National Portrait Gallery

What do you think is going on in this picture?

What do elements such as light and shade, reflection, repetition of lines, colour palette, body pose, setting, and surrounding objects, communicate about the woman in the portrait?

Sumbawa Pride - Life on a Boat With Eleven Kids, Alex Vaughan, 2018, From the collection of: National Portrait Gallery

The highly commended went to 'Sumbawa Pride - Life on a Boat With Eleven Kid,' by Alex Vaughn.

The Textiles Scientist, Kate Atkinson, 2018, From the collection of: National Portrait Gallery

The people have voted!

The People's Choice was awarded to Kate Atkinson for her portrait, 'The Textiles Scientist.'

A Calm So Deep, Elizabeth Looker, 2018, From the collection of: National Portrait Gallery

The Art Handler's Award went to Elizabeth Looker for her portrait, 'A Calm So Deep.'

Osher, Stephen Baccon, 2018, From the collection of: National Portrait Gallery

You be the judge!

Look closely through the finalists works.

What criteria would you use to judge the entries and which portrait would be your winner?

Discuss your choice with your peers.

Knox Rocket, Natalie Nowotarski, 2018, From the collection of: National Portrait Gallery
More finalists from the exhibition
Select the portraits you find compelling and reflect on what aspects you connect with. 
Deel, Stefanie King, 2018, From the collection of: National Portrait Gallery
That's not my mother, Rosa Spring Voss, 2018, From the collection of: National Portrait Gallery
Unbreakable, Dave Laslett, 2018, From the collection of: National Portrait Gallery
Portrait of Whitney, Jordan Madge, 2018, From the collection of: National Portrait Gallery
Sarker Protick, Artist, Sydney, Australia, 2018, Ingvar Kenne, 2018, From the collection of: National Portrait Gallery
Callan Bradley Hales (left and right view), Shea Kirk, 2018, From the collection of: National Portrait Gallery
Alex, Michael Murchie, 2018, From the collection of: National Portrait Gallery
Tristan Has A Bad Heart, Nicholas Garcia, 2018, From the collection of: National Portrait Gallery
Tracey, Rod McNicol, 2018, From the collection of: National Portrait Gallery

Find out more about the exhibition by heading over to our website.

Interested in learning more?

Book into one of our virtual excursions and spend some time with one of our Learning Facilitators. Chat, draw and be taken on a virtual tour through the exhibition and collection.

Ella in Callala Bay, Aletheia Casey, 2018, From the collection of: National Portrait Gallery

The NPPP 2019 is touring around Australia!
Take a look at the tour venues and schedule.

Credits: Story

This exhibit was written by Lucie Shawcross, Learning Facilitator at the National Portrait Gallery.

This exhibit was edited and produced by Alana Sivell, Digital Learning Coordinator at the National Portrait Gallery.

Thanks to the NPPP 2019 finalists for allowing us to include their works.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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