Joyce Olga Evans , B.A., Dip. Soc. Stud. (21 December 1929 – 20 April 2019) was an Australian photographer active as an amateur from the 1950s and professional photographic artist from the 1980s, director of the Church Street Photography Centre in Melbourne (1976–1982), art curator and collector, and tertiary photography lecturer. Early work Evans was presented with a Leica camera by her wealthy father and her earliest surviving photography is from 1949 to 1951 and records marches, demonstrations and youth events including the 1949 May Day March; the 2nd World Festival of Youth and Students, Budapest, 1949; and the Melbourne University Labour Club participating in demonstrations in 1951. She studied painting with John Olsen at the Bakery Art School, Sydney in 1967/1968, but much later 'fell in love' with photography at the Basel Art Fair, which led first to a career as a gallerist, then as a practicing photographer. Church Street Photographic Centre In 1976 Evans opened Church Street Photographic Centre, a specialist photography gallery and bookshop in Church Street, Richmond, Victoria. It was the third commercial photographic gallery in 1970s Melbourne to open after Brummels (1972) and The Photographers Gallery (1973) and showcased International 19th and 20th Century photography including Berenice Abbott, Eugène Atget, Julia Margaret Cameron, Henri Cartier-Bresson, Imogen Cunningham, Elllott Erwitt, Robert Frank, Hill and Adamson, André Kertész, Les Krims, Martin Lacis, James Newberry, Arnold Newman, Bill Owens, Jan Saudek, W. Eugene Smith, Frederick Sommer, Alfred Stieglitz, Paul Strand, Jerry Uelsmann, Brett Weston, and Minor White. Significant Australians were also shown, including Venise Alstergren, Robert Ashton, John Cato, Max Dupain, Rennie Ellis, John Gollings, Laurence Le Guay, Fiona Hall, Bill Henson, Frank Hurley, David Moore, Athol Shmith and Mark Strizlc. The gallery also housed a bookshop that stocked a range of local and international books on photography and the latest specialist photographic periodicals and supplied Melbourne's schools, colleges and tertiary institutions. In 1981, in order to keep their gallery solvent Evans sold off her inventory of books and magazines; they became a foundation for 'The Printed Image' bookshop, which also specialised exclusively in photography. The gallery space was also used to present visiting speakers and for photographic workshops, tutored by photographers and writers of the era including Pete Turner, editor of Creative Camera, UK; Jean-Marc Le Pechoux, publisher/editor of Light Vision; John Cato; and Ian Cosier. Church Street also housed a photographic darkroom and framing facilities (which