Much of Max Dupain’s work can be considered formal. His technique was clear and modern, using light and shadow to create a formal effect. Dupain’s photographs centered around formal beauty, subject matter and presence. Max Dupain carefully composed his images to emphasise this formality. Using techniques contrasting those of pictorialism that had been prominent in other Australian photographers at the time, Dupain refined his photographs with disciplined composition and sharp adherence to modern guidelines. He used little extreme contrast in his images, instead producing prints that exerted a soft warmth and positivity. Dupain’s production was formal and straightforward. Every print was beautifully controlled and refined during the entire process, which was undertaken by Dupain himself.
Rescue and Resuscitation (Manly, 1940) clearly conveyed this idea of formalism. The image was carefully constructed using the rule of thirds to draw our eye to the particular subjects. Light is used to create perspective and depth of field. In the foreground of the picture it is quite light and in focus, however as we get further into the background we notice that the image becomes slightly darker and less focused, shortening the depth of field. The rope the men creates line to draw our eye across the image. Perspective is creating by contrasting the different heights and sizes of the men as they get further away from our position. The image doesn’t have an extreme contrast in tone, but a subtle tonal difference does create shape and substance. This piece once again conveys the themes of Australian surf culture, and the ‘typical Australian’ tanned and toned male.
Max Dupain started out in a time when softly focused images ruled by relaxed composition and romanticism reigned supreme. He ventured into a world of modernism, emphasising cultural growth and vitality with a straightforward approach to design composition and techniques. He captured images that were sharp and precise, using to light to create shape and presence. His images however did still contain hints of romanticism in their themes and heroic portrayal of the ‘typical Aussie’.
This image, Curious Boy (1958), shows a young boy eagerly exploring a piece of farm equipment against a rural Australian landscape. It is a classic example of modernism in Max Dupain’s work. The image in constructed in a formal manner. It uses the rule of thirds to create an obvious focus point for our eye. Dupain uses light in the image to create shape, particularly in the outline of the machinery and the boy. The depth of field is moderate, with the background appearing in a softly focused, almost romantic way. The contrast between light and dark isn’t extreme, another example of the slight influence of romanticism in Dupain’s work. The foreground however is sharp and concise, clearly contributing to the ideas of modernism. Dupain highlights the same principles of Australian culture and progression, putting emphasis once again on the physical structure of the Australian male, the raw nature of the landscape and the presence of the sun.
Max Dupain was clearly a pioneer in modern Australian photography, effectively capturing the essence of Australian culture and life. He portrayed the stereotypes of beach culture, and the physical features attributed to the typical Aussie male. His work was a sharp and deliberate step away from the pictorialism of the 19th century, and a confident step into the modernist and progressive nature of later photography.
