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Thursday, May 31, 2012

max dupain

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Max Dupain


Born April , 111


Died July 7, 1


“Max Dupains has had an extraordinary photographic legacy, spanning over six decades; he is one of Australia’s most celebrated photographers.” ()


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Dupain’s interest in photography developed while he was an apprentice at the commercial art studio, under commercial photographer Cecil Bostock. Around that time there was an emphasis on painterly, soft-hued romanticism. He was one of the first to break out of that tradition and convert to the new photography from Europe, which used sharp focus, strong light and unusual perspectives to capture the modern era.” ()


In 14 Dupain established his own commercial studio in Bond Street, Sydney and specialised in advertising, still life and portraiture. When the Second World War came Dupain served as a photographer. While Dupain was away Olive Cotton, a fellow photographer ran and managed the studio. Upon his return to studio work in 147, he de-emphasized picturesque landscapes and portraiture in favour of the more abstract architectural and industrial imagery, this established him as one of Australias most significant Modernist photographers. ()


Dupain continued to operate the commercial studio from Sydneys lower north shore until his death in 1. Eric Sierins worked as a photographer with Max Dupain from 18 to 1, and continues to manage Max Dupain and Associates today. ()


Throughout his long career, Dupain remained an adherent of black and white photography. A fascinated observer of his fellow Australians, he captured both friends and anonymous faces in the crowd with consummate skill. He was one of Australias most eminent photographers. ()


During his long and distinguished career Max Dupain took thousands of photographs of people. A majority of his photographs from the 10s and 140s mostly includes portraits of dancers, actresses and classical musicians as well as ordinary Australians; these reflect his bold, stylish approach. (). Max Dupain is identical with the ascendancy and acceptance of modern photography in Australia. Although he is more widely recognised for his beach scenes and documentary photography, a great example of this is ‘The Sunbaker’.


“Sunbaker” 17


This is one of his best-known images. He took this famous shot, while he was on holiday at Culburra, on the New South Wales South Coast in 17; this was a year of popular optimism before the War.


The sunbaker is completely relaxed he is at one with the land as he is scorched on white-hot sand. He lies with his back exposed to the sun, the diamond-dazzle seawater and sweat sparkling on his skin. Dupain used a low-angle shot, which transforms the simple shapes of this oval head and triangular torso into a mountain-like outcrop set against the horizon.


This image was inspired by the work of European modernist photographers, who were more interested in exploring abstract form than in making descriptive photographs. Over the years Sunbaker has become a national image. The straightforwardness of the figure replaces the clich�s of athletic masculine imagery that was around before the 140’s.


The light in this photograph has a very strong light above the subject. This light makes the bronze skin of the man glow around the arms where the muscles are bulging toward the sky. There is a very light tonal quality in the sky and in the foreground. The sea on the horizon is barely visible; but it has a slightly darker tonal quality to the sand below and the sky above. There are lots of beautiful dark tones on the skin. His head hair is very dark; it is black in the shadow.


Space There’s a lot of space in the fore ground, but a small amount above the subject; this lets the figure sit neatly in the top third of the photograph.


The man is nicely placed in the photograph; a feeling of isolation is present. The man’s right arm is thrown forward in the front of his left; this enhances his right shoulder blade at the top of the photograph. It sticks out a little more than the other. He looks like he’s crawling toward the camera.


The man lies on the beach comfortably on a hot summers day. He has his back to the elements and the sun. Strong light from above makes the seawater on his dark bronze skin glow around his shoulders. The vast amount of space that is in the foreground has a light tonal quality, and the sky behind him has darker qualities.





1 http//sunday.ninemsn.com.au/sunday/art_profiles/article_14.asp


http//www.sl.nsw.gov.au/exhibitions/max_dupain/


http//www.portrait.gov.au/content/exhibit/dupain





The photography I understand best and enjoy practising most is using the camera in a simple way and for the propose of recording what the keenest eye can see. Dupain


Finally some day I hope I shall be able to look back and witness the fact that my work has been a contribution in helping to elevate photography from the trivial to the significant. Dupain


Dupain’s images, including many portraits especially of the 10s to 160s, have stamped the public image of this era of rapid progress and increasing cultural sophistication in Australia. Gael Newton


As a schoolboy camera enthusiast Dupain’s photography comprised mostly impressionistic romantic landscapes, some unremarkable still life studies and only the occasional portrait of family and friends. Gael Newton


Few of Dupain’s later portraits truly rival those made before the late 160s, when he began to specialise in what he called his ‘long suit’ � a love affair with modern architecture. In this author’s experience, Dupain’s ability to work with the environment and the moment were undimmed in the 180s. Gael Newton


Max always said he thought taking pictures of people was a damn sight more difficult than architecture, for example � at least the building stayed put and you werent required to talk to it! (1)











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