The accessories were made by various makers including Kodak Pty Ltd, Sangamo Weston Ltd and Dallan.The Museum of Applied Arts and Sciences acknowledges Australia’s First Nations Peoples as the Traditional Owners and Custodians of the land and gives respect to the Elders – past and present – and through them to all Aboriginal and Torres Strait Islander peoples.Exposure meter, 'Western Master V', model S461-5This particular camera belonged to Sydney-based Australian photographer, Max Dupain (1911-1992). 0000014783 00000 n Dupain used this camera for many years, mainly for architectural photography. Dupain’s best portraits of these decades combine a dramatic boldness in composition and lighting, with telling inclusions of foreground or background elements as in the portrait of artist Hal Missingham (also Director of the Art Gallery of New South Wales and a fellow photographer), his hand raised in the air eloquently but inexplicably; or in the view of Robert Emerson Curtis drawing a profile of Clem Seale in 1945. The camera's accessories are: a box (packaging originally for Kodak 4 x 5 inch sheet film) containing an envelope and a 4 x 5 inch glass focusing screen for the rear of the camera; 'Western Master V' Universal exposure meter; portable Dallan developing tank; and a book titled 'Linhof Practice: an introduction to Linhof Cameras, their accessories, and photographic technique'.This camera was made by Linhof Präzisions-Systemtechnik GmbH in Germany, c.1959. %PDF-1.5 %���� 0000017758 00000 n The camera also comes with a silver metal cable release, a black plastic Leica lens cap and an aluminium sports finder.Aboriginal and Torres Strait Islander peoples are advised that the MAAS website contains a range of Indigenous Cultural Material.
This unique exhibition will give an insight into the private lives, pursuits and work of all the Nobel laureates associated with Australia Dupain is known, amongst other things, for his documentary photography of the Sydney Opera House and workers during its construction from 1959-1973. Max Dupain’s interest in Surrealism was consolidated when in 1935 he reviewed a monograph of the work of the Paris-based photographer Man Ray. 0000001409 00000 n His images capture a long gone era in which Australian society was vastly different from what it is now.
{{cite web |url=https://ma.as/416674 |title='Linhof Technika' camera and accessories used by Max Dupain |author=Museum of Applied Arts & Sciences |access-date=18 September 2020 |publisher=Museum of Applied Arts & Sciences, Australia}}'Linhof Technika' camera used by Max DupainLinhof Technika camera with attached Schneider 127mm lens (Serial Number 2360420) and black plastic metal lens hood with ultravoilet lens filter inserted. During his long and distinguished career Max Dupain took thousands of photographs of people. In commenting on his mentor’s portraiture, David Moore observed that there is a marked change after World War II to images with greater spontaneity which seem to seek the decisive moments of reportage. This exhibition focuses on exploring national and communal identity through sculptural production in Australia, from the early decades of settlement through to the present day He photographed me in 1982 and chose a moment ’between takes‘ when I was idly twisting my ponytail, to render me as glam as Greta Garbo.
Max Dupain put his lack of clannishness down to a temperament which inclined to the stoic and an early life as an only child. Between the 1929 and 1992, he produced hundreds of photographs for CSR Limited, various Commonwealth Government departments, the ABC and other commercial clients. 0000012134 00000 n 0000003365 00000 n He enjoyed athletics, rowing, and the arts. Max Dupain would have been 81 years old at the time of death or 104 years old today. Not all of Dupain’s favourite portraits, though, were of the famous. Although he is more widely recognised for his beach scenes and documentary photography, Dupain’s portraits also reflect his bold, stylish approach.We have lots planned for while we are all social distancing, so sign up to keep up to date. Among the later works, is the 1957 portrait of model-maker Charlie South, seated simply in his cluttered office and worn clothes. 0000030795 00000 n
�HT÷�������z�����~�߸�>���r��k)����s-J�"�������{ In October 1935 in 0000000716 00000 n ��w����U��o�B-P�Ù:��vJ��Ez�w��:��G�\S�yz�V��y�ǫ*�@�#��"�;z�n���j� Educated at Ashfield Preparatory and Sydney Grammar schools, Dupain did not thrive academically, and did not complete the Leaving certificate. Consider different angles and viewpoints and try to find details that people usually ignore or disregard. Aboriginal and Torres Strait Islander peoples are advised that the MAAS website contains a range of Indigenous Cultural Material. The camera was acquired from the Max Dupain studio when Dupain downsized and moved his studio into the L&P Photographics Building at 96 Reserve Road, Artarmon. In the late 1930s when the Russian Ballet was in Sydney, Dupain also fell under its spell. This would have been an honour indeed. Dupain passionately believed in the greatness of traditional art forms, always placing photography a poor second to architecture, music and old master painting. This includes artworks, artifacts, images and recordings of people who may have passed away, and other objects which may be culturally sensitive.Book, 'Linhof Practice: an introduction to Linhof Cameras'Camera, 'Linhof Technika', and accessories, metal / plastic / paper / glass, various makers, c. 1959, camera body used by Max Dupain, Sydney, New South Wales, 1959-1980sAttribution-Non Commercial-No Derivatives licence Dupain used this camera for many years, mainly for architectural photography.Linhof Technika camera with attached Schneider 127mm lens (Serial Number 2360420) and black plastic metal lens hood with ultraviolet lens filter inserted. He was not a joiner or follower of teams; he was republican in politics and agnostic. Max Dupain and Frank Hinder are among the many significant artists who contributed decisively to Australia’s modernist tradition. Dupain began using the camera in 1959, whereupon it quickly become his 'go to' camera for architectural photography, and he continued using it through until the 1980s. Though, I do believe it was due to old age considering he was 81 years old.
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