He began experimenting with light and formal composition, trying to reflect the industrious spirit of the age rather than the romanticism of the previous schools. These were ideas that were trickling down to Australia from Europe and the United States, by publication and description.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. .As i kneeled with my hands spread out and my forehead on the floor, i felt that someone stood just an inch away from my stretched fingers. She just stood there without saying a word. This was pure tension, as i knew she was looking at me, and taking time to enjoy it. i had almost started to lift my head up a bit to see what kind of boots or shoes she was wearing, as she ordered: Don't move, I’ll be right back. Could it be.. No way... But... My heart went into a rollercoaster ride, beating 200 bpm. I could have sworn this had been the voice of Kim, our close, long and dear friend. As i tried to discard this thought (Kim and Pierre were the most conservative couple we knew) i relaxed a bit. But i kept as still as i could. Not daring to look up and find out it was in fact Kim. This would have been too much. The humiliation of me kneeling there and our dear friend Kim would have been killing. All of a sudden i heared someone running over. Claire grabbed me by my shoulders and dragged me.
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