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He was a prominent Australian photographer most known for his simplistic modern style. His work was very direct and his images were sharp, focused, and bold and had stunning compositions. He died on 27 July 1992 at the age of 81. Most of his work is landscapes, beaches, still life and architecture. Many of his photographs are of beach culture and he believed in showing Australia’s way of life through art, to the rest of the world. Dupain is best known for his photograph the “Sunbaker” as for many people it represented what it meant to be Australian. His produced over one million photographs of Australia, in particular Sydney, and most of his work is displayed in Australian museums and galleries. Dupain attended Sydney Grammar School, where he was a dedicated rower and had a love for English literature and poetry. At the age of 13, he developed a passionate interest in photography, after being given his first camera. In 1928 he won the “Carter Memorial Prize for Productive Use of Spare Time” and a year later joined the NSW Photographic Society. It was here that he met Harold Cazneaux a legendary Australian photographer. Dupain then went on to complete a three-year apprenticeship with Sydney photographer Cecil Bostock, in 1930. It was here that he learned the techniques of studio photography. Dupain attended the East Sydney Technical College and the Julian Ashton Art School from the years 1933 to 1935. Although he sometimes produced soft-focus photographs, such as Weather of Taratus (1932), he was mainly interested and inspired by modern photography. In 1934, at the age of 23, Dupain set up his own studio in Bond Street, Sydney. He produced fashion photography and portraits and his work was used by companies such as David Jones, the Australian Broadcasting Commission (ABC) and the magazine, The Home. In 1971, Dupain relocated to a new studio in Artarmon, Sydney. Here, he worked for the remaining 20 years of his life. Throughout his career, Dupain was involved with a commercial photography business. Much of his work was used to promote immigration, trade and investment. He worked for three main agencies; the Department of Information in the 1940s, the Australian Broadcasting Commission (ABC) in the 1950-1960s, and finally the Department of Trade in the 1960-1970s. During World War II, he left his studio to work for the army camouflage unit and then the Australian Department of Information (1945–47). When he returned he began producing more abstract architectural and industrial images, than landscapes and portraits. These photographs were the ones that established him as one of Australia’s most significant Modernist photographers. His work was featured in numerous exhibitions, most notably at an exhibit at the Photographer’s Gallery in London that celebrated his 80th birthday.
Sunbaker, 1937, 37.7 cm x 43.2cm
Analysis of “Sunbaker”
The picture is a “realistic” image. The photograph would have been taken during the day as the sun appears to be shining brightly.The sunbaker is completely relaxed and is lying on the ground basking in the sunlight. His back is completely exposed to the sun, and seawater and sweat sparkle on his skin. It looks like natural light was used. The composition of the photograph would be “centre of interest”. This is because the main object (the man) is in the centre of the photograph. There is a high contrast as the sand is very light whilst the man is dark. Dupain has used a low-angle shot to be level with the man’s body, lying on the ground. The shutter speed would have been high as the droplets on the man’s skin are very defined and the entire image is sharp and focused. The shape of the man’s shoulders against the empty horizon have an interesting effect, and assist in giving the picture a bit of a background. The line is very detailed and sharp as individual hairs are visible on the man’s arm. The photograph appears to be black and white making it monochromatic. Various tones of black and white are used to achieve the desired effect. I like the photograph because I think it is calming and depicts a very ordinary yet intriguing scenario. The fact that the only visible object is the man himself, and that the photo isn’t overcrowded with people gives it a tranquil atmosphere. The photograph represents Australian beach culture and it shows a typical Australian basking in the joys of summer life. This photograph, along with many of Dupain’s other works, have assisted in shaping Australia's identity by showing that beach culture is a very important part of Australia.
Julia Margaret Cameron was born on 11 June 1815 in Calcutta, India. She died on 26 January 1879 in Kalutara, Sri Lanka at the age of 63. She was a British photographer and her career began at a time when photography was only just beginning. Cameron was educated in France, but after completing her education, she returned to India. In 1838, at the age of 23 she married Charles Hay Cameron, a jurist. He was twenty years older than her. They continued to live in India but in 1848, when Charles Hay Cameron retired, the family moved to London. In 1860, Cameron visited the estate of poet Alfred Lord Tennyson on the Isle of Wight. She was so fond of the location that they purchased a property on the island soon after. As the wife of a retired jurist, Cameron was acquainted with and moved within the high society in Victorian England. This enabled her to photograph many famous people. Some of her most famous subjects included: Charles Darwin, Alfred Lord Tennyson, poet Robert Browning, William Michael Rossetti, poet Laureate Alfred, painter George Frederick Watts and astronomer Sir John Herschel. Cameron's portraits are considered very important because they are often the only existing photographs of these historical figures. Julia Margaret Cameron began her career in photography at the age of forty-eight after receiving a camera as a gift from her daughter. She loved photography and used it to “capture beauty.” Within a year, she had become a member of the “Photographic Societies of London and Scotland.” Much of her inspiration came from literature, and her work in turn influenced many writers. In addition to literature, she was greatly influenced by the works of Raphael, Giotto, and Michelangelo. Cameron’s renowned feature is her unusual portrait style, which included close cropping and an emphasis on capturing the personality of her subject. She produced most of her work at her home on the Isle of Wight. Cameron, who was known for having an unusually eccentric personality, recruited everyone around her as models, including family members, domestic servants and local residents. She was quite compulsive about photography and she would spend hours coating, exposing, and processing wet plates. Though many people criticized and ridiculed her work, with the support of her friends and family she advanced to become one of the best amateurs in her time. During her career, Cameron registered each of her photographs with the copyright office and kept detailed records. It was this business sense of mind that resulted in many of her works surviving today. After Cameron’s death her niece Julia Prinsep Stephen née Jackson wrote a biography of Cameron. However, it was not until 1948 that her photography became more widely known when Helmut Gernsheim wrote a book on her work. Cameron’s photographs are important today because she has given us an insight into what life was like during her times enabling us to further understand history.
The Kiss of Peace 1869 36.0 cm x 27.8 cm
Analysis of “Kiss of Peace”
The picture is a portrait. It is a photograph of what appears to be a mother and daughter. The mother is kissing the daughter. They are gloomy and as they are wrapped in blankets, most probably cold. It looks like it was taken during winter in the late afternoon, but because of the lack of colour and light this is hard to tell. The composition of this photograph would be “framing.” This is because both mother and daughter are framed by the arch over their heads. There is low contrast, as all the shades seem to blend together creating a “shadowy and dull” effect. The shutter speed would be slow as the image seems a bit blurry. The depth of field is deep as no particular areas are blurry in comparison to the rest of the image. There is little colour in the photograph but instead various shades and tones of black, white and grey have been used. The use of colour is effective because it assists in setting the atmosphere and mood for the image. The shape is the figures of the mother and daughter and their togetherness helps to make the composition seem complete. I find this photograph intriguing yet puzzling because it is up to the viewer to decide the meaning of the picture and interpret it. The message I obtain from the picture is that a poor mother and daughter are trying to struggle through the harshness of winter. The “kiss” signifies hope and love and I think it is meant to show that if they remain strong they will survive. Considering the times when Julia Margaret Cameron was born, I think she was trying to depict life at the time for people who were poor and not as fortunate as her. She used her photographs as a way to illustrate people’s personalities, and I think she has clearly shown what life for the poor would have been like, through this image.
Julia Margaret Cameron
http://en.wikipedia.org/wiki/Julia_Margaret_Cameron http://photography.lovetoknow.com/Famous_Women_Photographers http://www.getty.edu/art/gettyguide/artMakerDetails?maker=2026
Picture (Kiss of Peace)