Mervyn Bishop: Pioneering Indigenous Photographer Rewriting History

Mervyn Bishop, born in July 1945, stands as an icon in the realm of Australian news and documentary photography. His remarkable journey began in 1962 when he joined The Sydney Morning Herald as a cadet, marking a groundbreaking milestone as the first Aboriginal Australian photographer hired by the newspaper. In doing so, he became the first Aboriginal person to work on a metropolitan daily newspaper and one of the earliest Indigenous professional photographers.

Hailing from the Murri community and born in Brewarrina, north-west New South Wales, Bishop’s upbringing was shaped by a family that defied societal norms. His father, “Minty” Bishop, born to an Aboriginal mother and Punjabi Indian father, obtained an “exemption certificate,” allowing the family to live outside the confines of the mission, but tragically this was a space that encouraged severing ties with their cultural heritage.

Bishop’s passion for photography burgeoned during his teenage years, as he began documenting his family’s journey with a camera, starting with his mother’s Kodak and later, a 35mm Japanese camera. His pursuit of education led him to Dubbo High School, where he honed his skills before venturing into his historic career.

Joining The Sydney Morning Herald in 1962, Bishop embarked on a path that carved history. During his four-year cadetship, he completed a Photography Certificate Course at Sydney Technical College, solidifying his skills and commitment to his craft.

In 1971, Bishop achieved a crowning moment, being named Australian Press Photographer of the Year for his evocative work, “Life and Death Dash” (1971). This impactful photograph portrayed a nun rushing to aid an Aboriginal child and graced the Herald’s front page in January 1971.

From 1974 to 1980, Bishop worked as the Department of Aboriginal Affairs’ staff photographer, a period that birthed some of his most enduring and poignant works. His iconic photograph of Gough Whitlam pouring soil into Vincent Lingiari’s hand at Wattie Creek in 1975 is hailed as the symbolic birth of land rights, encapsulating a historic moment in Australian Indigenous history.

Returning to The Sydney Morning Herald in 1979, Bishop’s dedication to photography transcended boundaries. He ventured into freelance work, collaborating with renowned agencies like the National Geographic Society, while also devoting himself to educating future generations. His lecturing roles at Tranby Aboriginal College, Eora College, and the University of Sydney’s Tin Sheds Gallery showcased his commitment to nurturing talent.

In 1991, Bishop’s solo exhibition, “In Dreams: Mervyn, Thirty Years of Photography 1960 to 1990,” unveiled his legacy, curated by Indigenous Australian artist Tracey Moffatt and touring for over a decade. The accompanying book, “In Dreams,” further immortalized his extensive body of work.

Bishop’s influence extended beyond exhibitions and accolades. His captivating photographs find a place in the permanent collections of esteemed institutions like the Art Gallery of New South Wales and the National Gallery of Australia, ensuring the preservation of his art for generations to come.

Recognizing his impact, Bishop received numerous accolades, including the prestigious $50,000 Red Ochre Award from the Australia Council’s Aboriginal and Torres Strait Islander Arts Board in 2000.

Mervyn Bishop’s extraordinary journey stands as a testament to artistic excellence, cultural resilience, and the unwavering commitment to capturing the essence of Indigenous life through the lens of a camera. His legacy continues to inspire and shape the landscape of Australian photography, a beacon of Indigenous representation and storytelling woven into the nation’s history.