[3][4][5] 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.
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; Perth: Miles Glanville; Hobart: Geoff Parr In his first editorial Jean-Marc Le Pechoux surveyed the emergent, positive situation for photography in Australia; A large international corporation [Philip Morris International] has recently compiled a collection of works by Australian photographers.
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.Identified by photojournalist Geoff Strong as “that haute couture of Australian photographic magazines”,[8] Light Vision was glossily printed by Norman J.
[15] In the next issue Robert Rooney joined Perry to compare Helmut Newton's White Women[16] with Edward Weston Nudes[17] and included a European with Herbert List Photographen (sic) 1930-1970,[18] and photodocumentary in Americans Mark and Dan Jury's Gramp.
[19] 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.
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.