While making our feature documentary THE VALLEY, I was driven not only to tell the stories of this community but also to intimately capture the faces, endeavours and quiet strength of the locals we met along the way — portraits that speak beyond the camera’s lens and embody the heart and soul of Kangaroo Valley.
I observed that most people in a rural community and small town are largely defined and identified by what they do. Their professions, routines, and skills reveal their character and resilience, shaping their identities in profound ways. These images aim to portray the essence of the community and celebrate those who dedicate their lives to their land, craft and local businesses. My aim was to capture the profound humanity behind everyday routines, highlighting the perseverance and commitment of the town’s inhabitants and country folk I met. These portraits celebrate their humility and the beauty of a simple, hard working life.
I have long been fascinated by the beauty and truth of ordinary everyday life. I’m intrigued by how something quite extraordinary can emerge from the seemingly mundane. Drawn to stories of people who work quietly and diligently, often unnoticed, but with great determination and resolve, I created THE VALLEY PORTRAITS. They depict many Kangaroo Valley locals in their work environments — intimate and personal settings — where they often spend long days in solitude: milking cows, growing vegetables, baking bread, creating art. These scenes are not just routines or tasks; they are daily rituals that embody their deep connection to the land and their way of life.
These portraits have been inspired by the works of various artists, photographers, filmmakers, and writers. They draw from the solitude and isolation found in an Edward Hopper painting, the honest and straightforward portrayal of daily routines in a Frederick Wiseman film, the realism and everyday truths found in Studs Terkel’s writings — especially Working. They also reflect Annie Leibovitz’s bold use of colour and narrative richness, the environmental framing of an Arnold Newman image, and Raymond Carver’s economical storytelling that captures life as it is. Together, these influences deepen the understanding of the portraits and the daily life of this rural community, highlighting their quiet strength and harmonious relationship with their environment.
Over the years, my photographs have been recognised in several competitions, including the National Photographic Portrait Prize at the National Portrait Gallery, the Moran Contemporary Photographic Prize, the Sydney Life Photography Prize, and the Head On Portrait Prize. This year, being selected for the HEAD ON Open Program and given the opportunity to stage my own photo essay is a tremendous honour. 50 portraits feature in this exhibition, each telling a story of work, resilience and quiet strength. Although I have been a documentary filmmaker for over 20 years and have actively taken photographs for decades, I don’t feel I’ve earned the right to call myself a photographer. Creating this exhibition is a new and daunting experience — one that feels as vulnerable and exciting as a film festival premiere. While being judged is just part of the process, I see it also as a chance for my work to reach new audiences and communicate a deeper connection through this different form.
My heartfelt thanks to the incredible team who helped bring THE VALLEY PORTRAITS to life. Kate Hodges, whose seamless production, coordination, and management of logistics made the extensive photo shoot possible. Ben Cunningham, our talented camera assistant, who expertly lit each portrait and provided ongoing guidance and support throughout the process. Harry Kielly, our dedicated production assistant, who also served as the skilled photo editor for the thousands of images. To Stephen Dupont for his encouragement, guidance and inspiration. And to Iain Anderson at Charring Cross Photo, whose meticulous grading, printing, and framing of the 50 photographs have truly realised the vision of the exhibition. This project was a genuine artistic collaboration. Finally, I extend my gratitude to the team at Head On Photo Festival for selecting this collection for their 2025 Open Program — an honour I deeply appreciate.
Ian Darling, October 2025