by Editor Jane Lyons
Edited and published by Yvette Depaepe, the 1st of May 2026 

“of men and machines”

As we all know, art is subjective.

If ten people were asked to select their twenty favourite photographs from Adrian Donoghue’s extensive portfolio, the results would undoubtedly be very different. This edit is not meant to be definitive. It is simply a reading of Adrian's body of work through one set of eyes.

Adrian Donoghue is a photographer whose instantly recognizable work is cinematic, atmospheric and steeped in narrative. His images unfold like frames from an unseen film, brimming with mystery, intrigue and subtle drama. Drawing heavily on the visual language of film noir, he constructs urban scenes that are both elegant and unsettling, where tension lurks beneath a veneer of sophistication.

Set largely against the backdrop of Melbourne, Australia, his photographs transform familiar city streets into stages for psychological storytelling. Rain-slicked pavements, muted colour schemes and carefully controlled lighting create a world that feels suspended in time. His compositions are meticulously designed, often employing strong geometry and leading lines that draw the viewer further into the narrative. A recurring feature of his work is the lone figure positioned at the edge of the foreground.

A defining element of Adrian’s work is his own presence within it. Frequently dressed in a dark overcoat, black fedora and signature umbrella, he appears not just once, but often multiple times within the same frame. These repeated incarnations suggest layered identities and inner dialogues, inviting viewers to consider themes of self, memory and duality. This device is both theatrical and deeply psychological and is perhaps informed by his parallel career as a clinical psychologist.

“is there anybody out there?”

“Colour my world”

“Rainy Day in London 2”

“The chase”

“After midnight”

“The Italian job”

“In lonely cities live lonely men 7”

“Letters”

“The monolith”

In recent years, Adrian's visual storytelling has evolved to encompass his granddaughter, Matilda, who has become a significant presence in his work. Her presence introduces subtle shifts in tone, with moments of tenderness and connection emerging within his otherwise controlled and enigmatic world. This evolving dynamic adds emotional depth to his work while maintaining the integrity of his established style.

“Undercover 3”

“Against the tide”

“incident at the old clock tower”

“The babysitter 2”

“Where’s Matilda”?

Post-processing plays a crucial role in shaping his aesthetic. His images possess a painterly quality, achieved through careful compositing, which elevates them beyond straightforward photography. Yet despite this stylization, his work never loses its sense of realism. The result is a body of work that feels both cinematic and timeless — crafted, yet never artificial.

Adrian Donoghue is distinguished not only by his technical mastery, but also by his unwavering commitment to a singular vision. His style has remained remarkably consistent throughout his career, which is a testament to his clear artistic identity. His sophisticated and genteel images are often laced with irony and understated humor, rewarding viewers who linger and look beyond the surface.  His early work and references to the painter Edward Hopper, is wonderful. 

“Running man 3”

“The readers”

“Lonely men build lonely cities 2”

“to lay with friends”

“The lifeguard”

Since joining 1x, Adrian has built an impressive record, with over 500 awarded images—a reflection of both his productivity and the enduring appeal of his work. Each photograph stands as a carefully constructed story, yet together they form a cohesive and compelling body of work that continues to captivate audiences. Adrian Donoghue does not simply capture moments—he creates worlds.

Your work is inspiring Adrian. Thank you for being a part of the 1x community (almost 18 years) and for sharing your work with us.