‘Max Dupain’s dilemmas’, Australian Book Review, November 2021, no. 437

‘Steeped in the now: Maree Clarke’s photography’ in Myles Russell-Cook, ed., Maree Clarke: Ancestral Memories, National Gallery of Victoria, Melbourne

‘Australian Impressionism and Photography’ in Anne Gray and Angela Hesson, eds., She-oak and Sunlight, National Gallery of Victoria, Melbourne


‘Energised: Australian women’s photography of the 1970s’, in She Persists: Perspectives on Women in Art & Design, National Gallery of Victoria


‘A Hidden Legacy: Margaret Michaelis’s Photography’ in Rebecca Hawcroft, The Other Moderns: Sydney’s Forgotten European Design Legacy, NewSouth Publishing


‘Unsettling: Photographs by Anne Ferran and Sue Ford’, in Marsha Meskimmon and Marion Arnold (eds.) Home/Land: Women, Citizens, Photographies, Liverpool University Press

‘Aids to survival’ in Lee Kinsella, Mirian Stannage: Time Framed, UWA Publishing, Perth


‘Olive Cotton at Spring Forest’, Australian Book Review, July 2013, no. 353 , pp.18-31

‘Photography in 1913’ in Michelle Hetherington, ed., Glorious Days: Australia 1913, National Museum of Australia, pp.169


‘The space of biography: writing on Olive Cotton’, Meanjin, Vol. 71, No. 3, Spring 2012: 64-76


‘Death and digital photography’ in Cultural Studies Review, vol.17, no.1, March  (peer reviewed)

‘Other histories: photography and Australia’, Journal of Art Historiography, guest editor Jaynie Anderson, no.4, June 2011 (peer reviewed)

‘Olive Cotton and Sea’s awakening’, Journal of Australian Studies, vol.35, no. 4, December, pp.433-449 (peer reviewed)

‘Photography and the Ballets Russes: An Australian Perspective’ in Mark Carroll, (ed.), The Ballets Russes in Australia and Beyond. Adelaide: Wakefield Press, pp.105-111

‘Sue Ford’s History’, Art Journal of the National Gallery of Victoria, no.50, pp.89 -98


‘Photography and the Ballets Russes: An Australian Perspective’ in Mark Carroll, (ed.), Art at the Frontier. Adelaide: Wakefield Press, pp.105-111


‘Photography and Australia’, Grove Art Online (2500 words)


‘The art of dying’ in T Chandler Halliburton and Caroline Edwards (eds.), Making Sense of: Dying and death’, ISBN: 978-1-914710-52-3 (peer reviewed)


‘Portraiture in extremis’ in Daniel Palmer (ed.), Photogenic. Melbourne: Centre for Contemporary Photography


‘Seeing and not knowing’, Meanjin on PNG, no.3, 2003


Helen Ennis, ‘A National Photographic Collection’ in Peter Cochrane (ed.), Remarkable Occurrences. Canberra: National Library of Australia, 2002


‘Postwar Australian Landscape Photography’, History of Photography, vol.23, no.2, 1999, pp.136-141 (peer reviewed)

Guest editor Art Monthly. Photography now, October, no.124, 1999, including an article ‘The promised land? Photography and the market’, pp.11-14

‘Painted pictures’ in Blair French (ed.) Photo-Files. Sydney: Power Publications and Australian Centre for Photography, 1999 (first published Photofile, Autumn 1987)


Helen Ennis, ‘Margaret Michaelis in context’ in Juan Jose Lahuerta and Jordana Mendelson, Margaret Michaleis. Fotografia, Vanguardia I Politica a la Barcelona de la Republica. Valencia: IVAM Institut Valencia d’Art Modern, 1998


Helen Ennis, ‘Blue hydrangeas: Four émigré photographers’ in Roger Butler (ed.), The Europeans. Émigré Artists in Australia 1930-1960. Canberra: National Gallery of Australia, 1997, pp.102-119

‘Don’t look back: Helmut Newton’s Australian years’ Photofile, no.52, December, 1997, pp.10-15

‘The rise and rise of documentary photography?’ in Leica Documentary Photography Exhibition and Award. Melbourne: Centre for Contemporary Photography, 1997

Helen Ennis, ‘Subject to change’ in Anne Bamford (ed.), Viewpoints. Visual arts case
studies. Heinemann, 1997

‘Partnerships’, Photofile, no.53, April, 1997, pp.24-28


Pictograms: Aspects of Contemporary Photographic Practice, Australian Exhibitions Touring Agency, 1994


‘An optic parable: Surrealism and Photography’ in Michael Lloyd (ed.) Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993: pp.156-170 [catalogue essay]

‘Sacred fire’ in Geoffrey Burke and Peter Weiermair, eds., Second Nature. Peter Peryer, Photographer, New Zealand. Zurich: Edition Stemmle and New Zealand: Wellington City Gallery, 1993


‘Photography and public life’ in Juliana Engberg, Location. Contemporary photo based work from Australia. Melbourne: Australian Centre of Contemporary Art, 1992: pp.35-42  [catalogue essay]

‘Analogues’ and ‘1992’, Graeme Hare. Melbourne: Graeme Hare, 1992[catalogue essays]

‘The end of nature’, 42′ South, Hobart: Chameleon Contemporary Art Space, 1992 [catalogue essay]

‘Searching for Geoffrey Powell’ in Stuart Koop, ed., Shot. Melbourne: Centre for Contemporary Photography, 1992


‘To Canada’ in Karen Love, Aurora Australis. North Vancouver, Canada: Presentation House, 1990: pp.7-14 [catalogue essay]

‘Homage to Sight : the photographs of Miriam Stannage’ in Seva Frangos and Margaret Moore, Miriam Stannage. Perception 1969-1989. Perth: Art Gallery of Western Australia, 1990: pp.17-19 [catalogue essay]


‘Contemporary Photographic Practices’ in Gael Newton, Shades of Light: Photography and Australia 1839-1988. Sydney: Collins Australia and Australian National Gallery, 1988: pp.134-161

‘Photography: New Directions’ in Joyce Agee, The Thousand Mile Stare. Melbourne: Victorian Centre for Photography, 1988: pp.95-100  [catalogue essay]


‘Painted photographs’, Photofile, vol.4, no.4, Autumn, 1987: pp.11-14


‘1970s Australian Photographic Practice: A Homogenous View?’, Photofile, vol.4, no.1, Autumn, 1986: pp.12-15

‘Laszlo Moholy-Nagy: Photography and Film in Weimar Germany’, Photofile, vol.4, no.2, Spring, 1986: pp.30-32

‘The 1970s and Now’, Afterimage (USA), vol.14, no.2, September, 1986: pp.7-8