However, there have been a number of others who worked in this style, such as Tom Balfour, who roots lie in architectural photography in Adelaide, in the 19790s and as associate in Max Dupain's Sydney studio, photographing architecture in the 1980s. He has had a minimal presence in the modernist art gallery since, and exemplifies how the Australian modernist tradition slowly withered.
Establish the photographic canon was done in the context of Australia's post-colonial condition, geographical isolation and troubled relationship with the idea of "home". This post-colonial condition, accompanied by a chronic inferiority complex, consists of the endemic tall poppy syndrome, the vast cultural cringe and endless tiresome discussions about the quality of Australian art photography versus work produced overseas in the US.
the local versus overseas debate is a tired one that has run dry. What is of interest now after post modernism is what locally focused Australian artists are achieving and how these local movements in the arts, either directly or accidentally, dovetail with broader issues in our culture.