;[3] moving to Harrington's Melbourne office in 1913, he opened the showrooms to exhibitions, including that of John Kauffmann in 1914.

They pledged "to work and to advance pictorial photography and to show our own Australia in terms of sunlight rather than those of greyness and dismal shadows".

By comparison, Harold Cazneaux's contemporaneous photographs, taken from around the base of the bridge, retain a romantic Pictorialism.

In 1976, the Australian Centre for Photography commissioned David Moore (1927–2003) to make an archive of gelatin silver prints from the collection of Mallard's glass negatives, which were published in association with Sun Books in 1978.

"Here we have the documentary photograph, radical enough in its context, the social document, a large slice of Sydney's evolution and an example to all of us who think of future generations in terms of historical narration."