Personal one - David Mannah interview
How are you today? I’m feeling fantastic today—energized, excited, and really positive about everything ahead. I’m also just really grateful that both my family and I are healthy. So overall, I’m in a great place and ready to jump into things.
Could you introduce yourself and tell us a little about your journey as a photographer My journey as a photographer actually began back in school, around 11th grade. I started with film photography, developing in a darkroom, and I was really passionate about black-and-white compositions and shooting portraits. At that time, photography was purely an artistic outlet for me; I didn’t see it as a career option.
It was only about a decade later, after gaining more life experience, that I realized I could turn this passion into a commercial reality. I invested in new equipment, took photography courses, and dove deep into lighting and studio technique. I was lucky enough to assist my close friend and mentor, Georges Antoni, which opened my eyes to opportunities in fashion and beauty photography.
Eventually, I launched my commercial career in London, focusing on hair and beauty shoots with industry leaders like Toni & Guy. Over time, I developed my own signature style and became recognized as one of the leaders in hair photography worldwide.
“ I believe photography should be appreciated on a larger scale
How would you describe your style or approach to photography? I’d describe my style as one that evokes emotion and beautifully captures shape, texture, and silhouette in a way that feels natural and not overly staged. I aim for my photography to be at home in a high-end fashion magazine while still making the hair the hero of the image. I love working with beautiful lighting and amazing teams, and I strive to create images that feel iconic and unique.
When did you first hear about this exhibition? As someone who’s worked quite often in the studio where this exhibition is held, I’ve always admired the quality of the exhibitions and the beautiful prints they produce each year. I actually heard about this exhibition because I’ve seen it on display year after year and was invited to enter this time. So this is my first time participating, and I’m really excited to be part of it.
What does it mean to you personally to be part of this collective exhibition? I truly love the idea of celebrating Australian artistry and photography, and being among so many incredible artists is a real honour for me. I’m genuinely excited to see all the work come together in this collective exhibition.
“ I’m drawn to cinematic lighting that feels handcrafted, and to moments where emotion and character come through naturally
What do you hope audiences will take away from experiencing your work here? I really hope that when audiences see my work, they come away with a deeper appreciation for the technique and artistry behind how I’ve captured each subject. I want them to feel something—whether it’s an emotional connection or just admiration for the detail and care in each shot.
How do you see the photography scene today, especially with younger generations coming through? I think the photography scene today is an exciting mix of uncharted territory, especially with the rise of AI-generated imagery. For the younger generation, it’s important to bring something to the table that AI can’t replicate—true craftsmanship and a unique perspective. In my own work, I focus on that human element, especially since much of what I do is for competitions where AI isn’t allowed. It’s also crucial for new photographers to understand the commercial side of the industry. It’s not just about capturing a single image; it’s about offering more deliverables—behind-the-scenes content, video, interviews—that make your work more commercially valuable.
Has the exhibition influenced or inspired your perspective on photography in any way? It hasn’t necessarily changed my photography, but it’s definitely inspired me. I believe photography should be appreciated on a larger scale. Nowadays, so much of it is viewed only on a smartphone screen. Seeing
work enlarged, printed, and displayed physically really gives it the appreciation and presence it deserves.
What projects have you been working on recently? Recently, I’ve been working on a range of projects through my media and marketing agency, M Division. We specialize in creating content for leading haircare brands globally, so I’m constantly shooting campaigns both locally and internationally. I also own The Journal Magazine, where we produce editorials and collections showcasing the best of Australian hairdressers. And of course, I run the Australian Hair Fashion Awards, which keeps me busy year-round.
Is there a future project you’re particularly excited about and would like to share?
One project I’m really excited about is the recent global Toni & Guy campaign I shot in London. It was a major milestone because they wanted a completely fresh, editorial approach to their iconic campaigns. The shoot was a creative breakthrough for them, and I’m thrilled with how it turned out—it launches early next year.
Looking back, is there a past project you consider a milestone or turning point in your career? One of the biggest turning points in my career was shooting the winning collection for London Hairdresser of the Year in 2012 for my brother, Richard Mannah. That moment truly skyrocketed my career in the UK and established me as a go-to creator in beauty and hair photography. It opened doors back in Australia and ultimately led me to take over The Journal Magazine as CEO and Creative Director.
How has your photography evolved from when you first started until today? My photography has really evolved to focus on the details and elevating each moment thoughtfully. I’m deeply involved in the creative direction and planning, ensuring we have the right team and a clear vision before we even start. My approach is to capture as much as possible in-camera and minimize extensive retouching or digital enhancements. I want about 90 percent of the final image to be exactly what we captured on the day.
What inspires you right now—whether in photography or beyond? Right now, what really inspires me is imagery with a timeless, almost film-like quality—photos that feel like they could have been captured on analog film rather than digital. I’m drawn to cinematic lighting that feels handcrafted, and to moments where emotion and character come through naturally.
What equipment are you currently using, and why? I’ve always been a Nikon guy. I use the Nikon Z7 II—it’s lightweight, beautifully built, and delivers incredible detail with its 45-megapixel sensor. For lighting, I rely on Broncolor because of its precision, reliability, and versatility, particularly the Para modifiers. That setup gives me complete creative control while keeping my workflow smooth and consistent.
How does your gear shape your process or the kind of results you aim for? My gear really shapes my process by giving me speed and reliability on set. I rely heavily on tethering so I can see images live, make real-time adjustments, and collaborate closely with the team. That immediacy helps me ensure that hair, makeup, and styling all come together perfectly in the moment.
Is there a photographer, work, or experience that has been especially influential in your path? One photographer who’s had a huge influence on me is George Antoni. He was both a friend and mentor, and he encouraged me to find my own visual identity. Working with him early on really shaped how I approach shoots and taught me to be intentional with every detail.
What advice would you give to amateur photographers visiting the exhibition? My advice to young photographers is to keep shooting and exploring. Don’t be too proud to assist others—learn, grow, and make mistakes along the way. The hardest part of building a photography career is learning how to monetize it. Find your niche and build your own opportunities rather than relying solely on agencies.
Anything you want to add? To close, I always remember Ansel Adams’ words: “There are always two people in every picture: the photographer and the viewer.” It’s a reminder that our art is never just about us—it’s about the connection it creates with others.
You can check David's website here.
