Few photographs from the Modernists in America or the Bauhaus School in Berlin were actually seen by the Australians, but Dupain and his more adventurous contemporaries were hungrily consuming what information they could, and reflecting the imported ideas into an Australian setting. In the early Thirties Dupain was making surreal double exposures and floral studies using the solarisation technique that Man Ray had popularised. His studies of industrial buildings and machinery echo the quality of imagery being produced at the same time in the US by Margaret Bourke White.By the late 1930s Dupain was working as a professional photographer, with fashion and portaiture work as a preference but taking anything else that was available. Outside work he was making the documentary images that are outstanding in his work, often recreational subjects like his swimmers at Bondi and life-savers. During the war, Dupain, who was a pacifist, worked for the camouflage unit of the Royal Australian Air. "Give me that!" "Priscilla! watch your tone with Manny!" I'm sorry Mom, but I don't like boys touching my things!" She gave mea very pissed off stare as she wiped off her phone with a napkin. "Geewhiz Priscilla, I was only trying to be nice." She put her phone in herpurse and then pointed down at me. "Keep your hands off of my things! Idon't want your dirty hands contaminating anything I have laying arounddown here." She wasted no time in putting on her fancy sunglasses asshe made her way out the door."Aunt Stephanie, what was that all about and why is she so mad?" Sheset down her coffee cup and then checked her look in a compact mirrorshe pulled from her purse. "Don't worry about Miss Priss and me, youjust make sure you don't carry any more mud through the house whilewe're gone. And make damn sure none of your hoodloom friends are in thehouse either!" "Yes Aunt Stephanie, I know the house rules!" "I'll beback around lunchtime to drop off Miss Priss and the girls from thefashion club.
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