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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. They finish with strong commendations for the Swiss photography journal Print Letter, while criticising Camera for its recent concentration on American photography, though Perry himself, in the last edition of Light Vision, topically covers exclusively American books of work by Lewis Hine,[20] Robert Adams,[21] William Eggleston,[22] Lewis Baltz[23] and others dealing with urban and rural landscape and the 'New Topographics'.[24]

Energetiq Technology, Inc. is a high technology, ultra-bright light source subsidiary of Hamamatsu. Energetiq introduces breakthrough products using our patented, ultra-bright Laser-Driven Light Source (LDLS™) and Electrodeless Z-Pinch™ EUV technologies. These sources are used in a variety of markets, primarily in high-end semiconductor manufacturing, sensor testing for cell phones, and in a variety of drug discovery and medical applications.

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Traditional sources of extreme ultraviolet light such as synchrotrons or laser-produced tin plasma sources are very large and expensive to acquire, operate and maintain.

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Moore’s Law continues to drive semiconductor integrated circuit shrinks down to 3 nm and below and an increased feature density without passing the cost to the consumer. The next generation of photolithography requires a paradigm shift from 193 nm to 13.5 nm exposure wavelengths. This drastic change in exposure wavelength has brought about many fundamental challenges, especially in optical metrology and EUV-compatible materials development.

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The magazine honoured its title Australia's international photography magazine with representations of American or European photography alongside Australian examples in most issues. More established photographers in their late thirties to late sixties dominated until the double number 6&7 of 1978 devoted to new Australian work. That featured 21 artists born around 1950 and with an average age of 26; the youngest, John Adair, being eighteen and the oldest, John Cerchi, thirty-four. Many, Fiona Hall, Sandy Edwards, Bill Henson amongst them, went on to important careers. Selectors were American William Clift; Christine Godden Director and Michael Snelling Administrator, of the Australian Centre for Photography; William Heimerman and Ian Lobb, directors of The Photographers' Gallery and Workshop; and Jean-Marc Le Pechoux and Steven Lojewski for Light Vision. The magazine worked in partnership with its near neighbour 1.5 km across South Yarra, The Photographers' Gallery, who mounted an exhibition New Australian Work with the selected imagery, which toured.

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During Creative Camera editor Peter Turner’s visit to Australia in 1977[25] he met Jean-Marc Le Pechoux and significantly, Max Dupain’s The Sunbaker was featured on the covers of both Light Vision and Creative Camera in 1978,[26] with Dupain himself contributing an essay in Light Vision issue 5.[27] Such exposure, and that of the young Bill Henson in two issues[28] raised the profile of Australian photography in the UK.[29] The magazine played a role in setting Australian photography and photographers in an international context[2] and in publicising their work overseas[30] in a quality publication.[31][32]

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Light Vision magazine, subtitled "Australia’s international photography magazine", was launched in September 1977,[2] and though it lasted only eight issues, it made a more lasting impression on Australian photography than previous periodicals.[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."[6]

Identified by photojournalist Geoff Strong as “that haute couture of Australian photographic magazines”,[8] Light Vision was glossily printed by Norman J. Field & Co Pty Ltd in Richmond,[9] reproducing photographers' prints full page, and tackling photographic theory in essays, and in reviews of such contemporary texts as Susan Sontag's On Photography (1977). However, as a result of the cost of such support for the local printing industry, its cover price was the cover price was $2.70  which was at the high end of affordability at the time ($A15-$20 equivalent in 2019).[10] The double issue 6&7 was $5. Annual subscriptions within Australia were $15.00 for the six issues, with postage, Air Mail to New Zealand was $A28.00 and to other countries $A34.00. Surface mail to all countries was $A19.00.[11]

This webinar focuses on how an alternative light source, specifically designed for studying materials used in EUV technologies is used to overcome fundamental obstacles and advance research, enabling the introduction of EUV lithography to high volume manufacturing environments.

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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.

Unlike its treatment of books, on the numbers Light Vision was more equitable in inclusion of Australian photographers in its presentation of multiple-page 'folios' of individual photographers' work, even without taking into the calculation the 'Special Australian Edition'. Though there is no women's work presented in portfolios, the glossy colour printing as faithfully reproduces, effectively in tri-tone, the monochrome antipodean imagery of John Cato, Paul Cox, Phillip Quirk, Graham Howe and John Williams, the warmth of Robert Besanko's Kodalith paper, and Max Dupain's toned prints of the 1930s, as it does American Christian Vogt's saturated SX-70 and 8"x10" Polaroids. A full page is usually devoted to each image, with generous white borders allowing decent presentation of both landscape- and portrait-oriented images.

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The expensive cover price required to cover Light Vision's high quality of production, the new and relatively limited audience for art photography in Australia, compounded by its removal after issue 4 from the stock of the bookshop of a major public gallery, on the basis of the appearance of pubic hair in a controversial image by Christian Vogt in issue 4, all contributed to the magazine's premature demise.[3] Though not announced in its pages, Issue 8 was to be the last.

Jean-Marc Le Pechoux (born 1953), who had studied at Stage Experimental Photographique and who, from 1971 to 1974, was a freelance photographer in Paris, came to Australia and taught at Prahran College of Advanced Education and Photography Studies College in Melbourne from 1974 to 1976.[7] Deciding to make the southern city his home, he recognised the need for a high quality magazine. He taught himself the trade of editor/publisher and set up Light Quest Publications in the front room of his home at 75 Wilson Street, South Yarra.

Sam Gunnell is a Product Manager at Energetiq Technology, focused on EUV light sources for semiconductor applications. Before becoming a Product Manager, Sam served as Energetiq’s Technical Sales Engineer for both Laser-Driven Light Source and EUV light sources.

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A large international corporation [Philip Morris International] has recently compiled a collection of works by Australian photographers. In Melbourne alone during the last few months the public could have seen the works of J. M. Cameron, E. J. Bellocq, Jan Saudek, Lee Freidlander, Ralph Gibson or John Cato. National Galleries are collecting photographs. 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.

Book reviews, located in its off-white matt pages fore and aft, did not start to feature until issue 3, when the magazine appraised Craft Australia and Theatre Australia in a report on its joining an association of 'smaller magazines'. Artist and photography lecturer Tony Perry, in the 4th number, reviewed the American publications On Photography by Susan Sontag; Garry Winogrand's Women Are Beautiful;[12] Sex Objects: An American Documentary[13] by photographer Eric Kroll (misspelt 'Knoll' throughout the review); and Les Krims' Fictcryptokrimsographs,[14] while devoting a scant paragraph to Kelly Wise's Still Points (rendered 'Stillpoints' in the review).[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]

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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

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