In 1956, she was employed by ABC TV, where she edited reportage of the Melbourne Olympic Games, and met, then in 1958 married, cinematographer (Newcombe) Adrian Boddington (b. Kalgoorlie, 3 June 1911) and with whom she had three more sons, James (b.1959), Alastair (b.1961) and Nicholas (b.1963).

Establishing together the Zanthus Films partnership,[10] for which she reverted to her family name Blackwood, they operated from their home in Hawthorn,[11] producing documentaries including the BP-commissioned Three in a Million (1959),[12] Port of Melbourne (1961), and You Are Not Alone (1961) on the then tabu subject of breast cancer and mastectomy.

Boddington devoted several exhibitions to contemporary Australian photographers[23] including the well known and the recently discovered, giving equal billing to male and female artists; among these were Micky Allan,[24][25] Jon Rhodes,[26] Carol Jerrems, Jillian Gibb, Ruth Maddison, and David Stephenson.

[28] She defended this emphasis in a response to a January 1983 article in The Age by critic Geoff Strong, writing;...he castigates the National Gallery of Victoria for demonstrating "a reluctance to show new contemporary work, acting rather as a photographic art museum" (which is precisely what we are!).

[29]Important early Australian photography was given space, including that of Fred Kruger[30] whose prints and glass plates were brought to the curator by his descendants, and also the Antarctic photographers Frank Hurley and Herbert Ponting.

[34][35] In her role Boddington toured Europe, London and America in 1975, meeting photographers André Kertész and Bill Brandt as well as John Szarkowski, director of the Museum of Modern Art, an experience that influenced her ideas about curatorship, and leading her to decide that the acquisition of important overseas material should become a priority.