For Melbourne-based photographer Natalie Finney, photography isn’t just a medium—it’s a way of translating her world into something both personal and universal. “I think in pictures,” she says. “Traditional art forms never felt like my language, but with photography, I found my voice.”
Her work carries echoes of a childhood spent exploring the natural beauty of the Mornington Peninsula. “We used to rent a small boathouse near the beach in Merricks,” she recalls. “It was the eighties, so us kids ran wild and free, going on daily adventures in the bush or along the coast, often on horseback. That sense of freedom and connection to nature influences so much of my work today.”
Though she’s always lived in Melbourne, her lens often drifts toward quieter, unspoiled landscapes and the wonder of youth. “I’m definitely drawn to telling the stories of my children and other children,” she says. Themes of growth, change, and nature resonate deeply, rooted in her own life experiences.
Natalie’s camera of choice reflects her intuitive approach. She’s particularly drawn to her Canon EOS 3000n, a lightweight 35mm SLR she describes as a hidden gem. “It’s super affordable and versatile. I even have two—one loaded with black-and-white film so I can quickly capture moments with my kids.” Black-and-white photography holds a special place for her, with Ilford HP5+ becoming her go-to film. “It’s smooth, reliable, and has just the right amount of grain.”
Her love of light—its movement, its variations—has only deepened over the years. “I see light in ways I never used to,” Finney says. “Dappled, golden, blue, hard—it all dazzles me.” This heightened awareness imbues her work with an ethereal quality, a reminder that beauty often lies in the simplest, most fleeting moments.
When it comes to storytelling, Natalie walks a line between planning and spontaneity. For personal work, she carries a camera everywhere, capturing what feels right in the moment. For project-based series, however, she thrives on preparation. “I usually gather ideas with reference images and notes. The process is very quiet and consuming—it lets me obsess over details and create something cohesive.”
This balance extends to her creative techniques, where she enjoys experimenting with long exposures, multiple exposures, and movement. “I haven’t quite mastered multiple exposures yet, but they’re so much fun,” she says.
A pivotal moment in Natalie’s photography journey came in 2020, when a portrait of her father was selected for the National Photographic Portrait Prize. “It was such an incredible experience,” she reflects. Yet when asked to name a favourite photograph, she resists. “That’s like asking who your favourite child is!” she laughs.
Her journey is one of continuous discovery, a theme that aligns with her advice to others: “Keep shooting, keep trying new things, and keep seeking the magic.” Photography, for Natalie Finney, is both a craft and a way of seeing—a means of grounding herself in her Melbourne home while reaching for the universal stories that connect us all.
More from Natalie
Natalie Finney’s evocative essay, On Awe and Wonder in Photography, graces the pages of Loop Zine Issue Two, alongside her breathtaking image chosen as the cover photo. Through her words, she reflects on photography as both a craft and a meditative practice, drawing connections between the act of creating and the awe found in life’s quiet moments.
It is such a joy to read her words, and get lost in her images.
