Tag:street photography
Street photography is a genre that uniquely freezes moments of raw, unscripted human interaction and urban landscapes. It has a rich history and an enduring appeal. The allure lies in its ability to capture the essence of everyday life in public spaces. Photographers are drawn to street photography for various reasons, including the desire to document reality, express creativity, engage in social observation, and explore the dynamic relationship between people and their environments. In this post, we’ll delve into these motivations, highlighting street photography’s significance and multifaceted nature.
Documentation of Reality
One of the primary reasons people engage in street photography is the desire to document reality. Street photographers often see themselves as visual historians, capturing the essence of a particular time and place. Through their lenses, they document societal changes, cultural shifts, and the nuances of everyday life, thereby creating a valuable historical record that provides future generations a glimpse into the past.
Street photography’s ability to capture unposed, candid moments makes it a powerful tool for documenting reality. Unlike staged or studio photography, street photography reflects genuine human experiences and interactions. This authenticity resonates with both photographers and viewers, creating a sense of connection to the captured moments.
Creative Expression
Street photography also serves as a medium for creative expression. Photographers are drawn to the genre because it allows them to explore their artistic vision in a dynamic and unpredictable environment. The streets offer opportunities, from bustling markets and serene parks to architectural marvels and fleeting moments of human interaction. This diversity gives photographers a rich canvas for experimenting with composition, lighting, and perspective.
The spontaneous nature of street photography challenges photographers to think on their feet and adapt to ever-changing conditions. This spontaneity fosters creativity, pushing photographers to find unique angles and capture moments others might overlook. Street photography encourages photographers to see beauty in the mundane and tell compelling stories through images.
Social Observation
Street photography is inherently linked to social observation. Photographers are often motivated by a desire to understand and document the human condition. By capturing candid moments in public spaces, they gain insights into the behaviours, emotions, and interactions of people from diverse backgrounds. This observational aspect of street photography can be both enlightening and thought-provoking.
Through their work, street photographers can illuminate social issues, highlight cultural diversity, and challenge societal norms. Their images can serve as a powerful commentary on the world around them, spark conversations, and raise awareness about important topics. Street photography’s ability to capture the essence of humanity makes it a valuable tool for social observation and storytelling.
Exploration of Human-Environment Interaction
Another reason people are drawn to street photography is the opportunity to explore the dynamic relationship between people and their environments. Urban spaces constantly evolve, shaped by individual interactions and the built environment. Street photographers are fascinated by this interplay and seek to capture how people navigate, interact with, and transform their surroundings.
Street photography allows photographers to highlight the contrasts and connections between people and their environments. They can capture the juxtaposition of old and new, the interaction between nature and urbanisation and how individuals adapt to and shape their surroundings. This exploration of human-environment interaction adds depth and context to their images, making them more compelling and meaningful.
Personal Fulfillment and Connection
For many street photographers, the practice is not just a hobby but a source of personal fulfilment and connection. Wandering through the streets, observing life, and capturing moments can be a deeply meditative and rewarding experience. Street photography encourages photographers to be present in the moment, observe their surroundings keenly, and appreciate everyday life’s beauty.
Street photography provides personal fulfilment and fosters a sense of connection. Photographers share their work with a broader audience and create a community of like-minded individuals. Whether through social media platforms, photography exhibitions, or street photography groups, these connections enhance the experience and motivate people to pursue street photography.
Black and White or Colour?
Choosing between black-and-white or colour for street photography depends on several factors, such as personal preference, the mood you want to convey, and the specific characteristics of the scene.
Black and White:
- Timelessness: Black and white photography has a classic, timeless quality that can make your images feel more enduring.
- Focus on Composition: Without colour, the emphasis shifts to shapes, lines, textures, and contrast, enhancing the composition.
- Mood and Emotion: Black and white can evoke a strong emotional response. It can highlight a scene’s mood, making it more dramatic or poignant.
- Simplicity: It can simplify a busy scene, stripping away distractions and drawing attention to the subject.
Colour:
- Realism: Color captures the world as we see it, providing a more realistic representation of the scene.
- Mood and Atmosphere: Colors can convey different moods and atmospheres, from the warmth of a sunset to the vibrancy of a bustling market.
- Details and Layers: Color can add depth and layers to an image. It can highlight details that might be lost in black and white.
- Storytelling: Color can be a crucial element in storytelling, where certain hues may carry cultural, social, or personal significance.
Factors to Consider:
- Scene Characteristics: Some scenes naturally lend themselves to one style over the other. High-contrast scenes with strong light and shadows might work better in black and white, while scenes with rich, vibrant colours might be best captured in colour.
- Personal Style: Your artistic vision and style play a significant role. Some photographers prefer the aesthetic of black and white, while others are drawn to the dynamism of colour.
- Subject Matter: The subject can also influence the choice. For example, street portraits might benefit from the emotional impact of black and white. Meanwhile, urban landscapes might come alive with the colours of the city.
Ultimately, the choice between black and white or colour for street photography is a creative decision that can significantly affect the impact of your images. Experiment with both to see which resonates more with your vision and the story you want to tell.
Challenge and Skill Development
Street photography presents unique challenges that attract photographers seeking to hone their skills. The genre requires a combination of technical proficiency, quick thinking, and an ability to anticipate and react to fleeting moments. Photographers must master their equipment, understand light and composition, and develop a keen sense of timing.
The unpredictable nature of street photography pushes photographers out of their comfort zones and encourages continuous learning and improvement. Each outing presents new challenges and opportunities for growth, whether it’s capturing a decisive moment, dealing with changing light conditions or navigating crowded streets. This constant challenge keeps photographers engaged and motivated to refine their craft.
People engage in street photography for many reasons, from documenting reality and expressing creativity to engaging in social observation and exploring human-environment interactions. The genre’s unique appeal lies in its ability to capture authentic, unscripted moments reflecting everyday life’s essence. Street photography offers a rich and diverse canvas for photographers to explore their artistic vision, connect with others, and gain insights into the human condition.
The motivations behind street photography are as varied as the images it produces. For some, it is a way to document the world around them and create a historical record. For others, it is a form of creative expression and a means of exploring the relationship between people and their environments. Regardless of the motivation, street photography remains a powerful and enduring genre that continues to captivate and inspire photographers and viewers alike.
Henri Cartier-Bresson was a French photographer considered the founding father of photojournalism. He was also one of the first true street photographers using 35 mm film and pioneering the genre of street photography. He viewed photography as capturing a decisive moment. The “decisive moment” refers to capturing a fleeting and spontaneous event, where the image represents the essence of the event itself.
“I suddenly understood that a photograph could fix eternity in an instant.“
~Henri Cartier Bresson~
The Early Years
Cartier-Bresson was born on August 22, 1908, at Chanteloup, near Paris. His father was a respected and wealthy textile merchant, and he was given a strict Roman Catholic education. Cartier-Bresson’s uncle was an accomplished painter, and under his influence, he studied in Paris with Cubist painter and sculptor Andre Lhote from 1927-28. In 1929 Cartier-Bresson studied literature and painting at the University of Cambridge. While, as a young boy, he had used a Box Brownie, it wasn’t until 1930, after seeing the work of Eugene Atget and Man Ray, that he took a serious interest in photography.
In 1931, during a year on the Ivory Coast, he began recording his experiences. While on the Ivory Coast, he contracted blackwater fever (a form of malaria). Fearing he was dying, he sent a letter home instructing his grandfather to bury him in Normandy while Debussy’s String Quartet was played. His uncle replied his grandfather “finds it expensive and prefers that you return home first”. Fortunately, Cartier-Bresson recovered.
The Unseen Photographer
In 1932 Cartier-Bresson purchased his first 35mm Leica. The small size appealed to him, as he wished to remain silent and unseen when taking photographs. To become even more anonymous in the scene, he covered the bright silver parts of the camera with black tape to make it even less visible. On occasion, he even hid the camera under a handkerchief. Throughout his life, Cartier-Bresson mainly stuck to three fixed lenses – 35mm, 50mm and 135mm.
Between 1932 and 1935, he travelled throughout Eastern Europe, Spain and Mexico. In 1932 Cartier-Bresson took two of his most famous images – The cyclist caught gliding down a cobbled hill at the base of some stone steps in Hyères and The man jumping over a puddle behind the Gare Saint-Lazare.
His first photojournalism images were published in 1937 when, under assignment from the French weekly Regards, he covered the coronation of King George IV and Queen Elizabeth. However, Cartier-Bresson photographed the crowds and people, not taking a single image of the King and Queen. Also, that year, he married a Javanese dancer named Ratna Mohini. They divorced 30 years later.
The War years
Cartier-Bresson joined the French Army’s photographic unit at the outbreak of WWII as a corporal. His work, at this time, involved filming and photographing artillery fire, road bombardments and troop movements. However, in 1940, he was taken prisoner by the Germans. After three attempts, he escaped in 1943 and returned to France with forged papers.
Before being captured, he had buried his beloved Leica on a farm in France near the Vosges mountains. So one of the first things he did after escaping was to return to the farm, dig up his camera, and return to Paris to join the resistance. Finally, after four years of occupation, on August 19, 1944, French Resistance forces and Allied troops began their liberation of Paris. Robert Capa, Henri Cartier-Bresson and George Rodger (who would come to be three of the four founders of Magnum Photos) were all there recording the retreat. They documented the historic scenes as the city transformed from a place of oppression to one of freedom.
Founding Magnum
In 1945, Cartier-Bresson and the U.S. photographer Robert Capa, David Seymour and Ernst Haas founded the photographers’ cooperative Magnum Photos. The photographers owned the rights to their images, a novel concept at the time. Under the umbrella of Magnum, Cartier-Bresson concentrated more than ever on photojournalism. He travelled through India, China, Indonesia, and Egypt.
“Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.”
~Henri Cartier-Bresson~
Like Margaret Bourke-White, he was in India to photograph India’s independence from Britain. While there, he photographed Mahatma Gandhi barely 15 minutes before Gandhi was assassinated. The material from those years, plus Europe in the 1950s, became the subjects of several books published between 1952 and 1956. These publications cemented Cartier-Bresson’s reputation as a master of his craft.
Fame and Glory
In 1955, France honoured him when a retrospective exhibition of 400 of his photographs was held at the Museum of Decorative Arts in Paris. The show then travelled through Europe, the United States, and Japan. At the end of the exhibition, the photographs were consigned to the Bibliothèque Nationale (National Library) in Paris for posterity. He was also awarded the Overseas Press Club Award and Prix de la Societe Francaise de Photographie.
In 1963 he travelled to and photographed in Cuba, followed by Mexico in 1964 and India in 1965. Then, during the student revolt in Paris in May 1968, he was there with his 35-mm camera. In 1966, after being a photographer for 30 years, he left Magnum and gave up the camera. For the rest of his life, he concentrated on landscapes and portraiture, but with a pen and paintbrush. In 1967 he married Magnum photographer Martine Franck, and the couple had one daughter, Melanie.
“I have always been passionate about painting,” writes Cartier-Bresson. “As a child, I painted on Thursdays and Sundays, and dreamed about it every other day.”
~Henri Cartier-Bresson~
FRANCE. Paris. 1992.
Cartier-Bresson died in Montjustin (Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. His wife, Martine Cartier-Besson, passed away in 2012 from Leukemia.
Vivian Dorothy Maier was an American amateur street photographer, often described as Mary Poppins with a camera. Born on February 1, 1926, in New York City to French/Austrian parents, she bounced between the U.S. and France during her childhood. In 1949, while living in France, Maier began experimenting with photography. Her first camera was a Kodak Box Brownie.
She was an intensely private person changing her name as she moved from family to family, calling herself Meyer, Mayer, Meier, Maier, or even Viv Smith.
Chicago
Maier returned to New York in 1951 on the Steamship De-grass’ and worked in Southampton as a nanny. In 1952 she purchased a German-made Rolleiflex camera. In 1956 Maier moved to Highland Park, a northern suburb of Chicago, to accept a job as a nanny for the Gensberg family. While with the Gensbergs, she would venture out to the streets of Chicago with her medium format Rolleiflex to photograph the neighbourhoods.
Years later, the three Gensberg boys she cared for recalled being taken to rough areas so their beloved nanny could pursue photography. At the Gensberg family home, she also had use of a darkroom.
Urban Human Landscape
Maier photographed the urban human landscape over three decades. Her preferred subjects were children, the poor, the marginalised, and the elderly, some of them aware of her and some not. She also made several self-portraits.
Between 1959 and 1960, Maier embarked on a solo trip around the world, taking pictures in Los Angeles, Manila, Bangkok, Shanghai, Beijing, India, Syria, Egypt, and Italy.
The Later Years
In the 1970s, with the children grown, Maier left the family and lost access to her darkroom. For a brief time in the 1970s, Maier worked as a housekeeper for talk-show host Phil Donahue. As she moved from family to family, her collection of rolls of undeveloped, unprinted work began to grow again. Maier had worked in a black-and-white documentary style until this time. However, she now switched to colour and adopted a more abstract approach. For her colour work, Maier stopped using the Rolleiflex and instead shot with her Leica and various German SLR cameras.
The colour work had an edge that hadn’t been seen in her work, becoming more abstract as time passed. Found objects, newspapers, and graffiti slowly replaced the people in her images. Her work also began to show a compulsion to save items she would find in garbage cans or lying beside the curb.
Hard Times
Now in her 70s, in the late 1990s, her financial situation worsened, and Maier put down her camera. Her belongings were placed in storage while she struggled to stay afloat. Finally, she became destitute and was about to be evicted from an apartment in Cicero. The Gensburg brothers banded together and arranged a small studio apartment for her in a better area.
In 2008, aged 82, she fell on a patch of ice in downtown Chicago, hitting her head. While she was expected to make a full recovery, her health began to deteriorate, forcing her into a nursing home. She passed away the following year in Illinois on April 20, 2009, aged 83. Maier had taken over 150,000 photographs in her lifetime.
The Maloof Collection
With Maier’s meagre means and the Gensberg brothers unaware of their existence, the storage locker containing her images was sold off due to non-payment of rent. The storage company auctioned off the negatives to RPN Sales. They, in turn, auctioned the boxes in a much larger auction to several buyers.
One of the buyers was John Maloof, a twenty-five-year-old real estate agent. Maloof purchased 30,000 negatives, sight unseen, for $400. Maloof was looking for vintage images of Chicago for a book he was publishing. Realising the photos were not what he wanted, he closed the box and put it on a shelf. Two years later, he took another look and, going through the box, found an envelope with her name. Maloof googled the name and found her death notice published just a few days before. Since then, Maloof has continued to acquire her negatives and now owns around 100,000 of them. Estimates are that Maloof now owns about 90% of her work, with Jeffrey Goldstein owning the remainder.
The School of Art Institute in Chicago established the Vivian Maier Scholarship Fund to provide female students with additional financial resources. John Maloof endowed the scholarship from funds received from print sales and his film, directed by Charlie Siskel, Finding Vivian Maier. Howard Greenberg and Charlie Siskel also provided donations.
Epilogue
However, Maier’s story doesn’t entirely end there. With the newfound fame around her images plus the publicity and income they generated, lawyers and potential heirs started putting their hands up. John Maloof had tracked down an heir and paid them for copyright. However, another lawyer claimed to have found another cousin in France and asked the court to nominate that cousin instead as heir to Maier’s Estate. In 2019, Maier’s images printed posthumously from her original negatives went up for sale in London for between $5k to $6.5k each.
© Estate of Vivian Maier; Courtesy Maloof Collection and Howard Greenberg Gallery
The Cook County public administrator in Chicago then took over what it considered an “unsettled estate”. A settlement was reached, allowing Maloof to continue to produce and exhibit the collection, keeping an undisclosed portion of the profits with the balance going to the Estate. So far, the exhibition has travelled through Europe and is currently in the U.K. until September 25.
Maloof was given the Estate’s blessing to make two significant donations to the University of Chicago to preserve Maiers’s legacy. The first donation was 500 prints in 2017, followed by another donation of 2,700 photographs in 2019. The prints will be held and made accessible to researchers allowing them to explore Maier’s printing process
Further Reading: Vivian Undeveloped: The Untold Story of the Photographer Nanny by Ann Mark
Note
The copyrights in the photography contained in this post are owned by the Estate of Vivian Maier. The Estate grants a limited license to media and press to reproduce the attached images in articles concerning Vivian Maier and/or John Maloof’s donation of vintage prints of Vivian Maier’s work to the University of Chicago. Hi-resolution versions of images may be used in connection with print versions of articles only. For electronic and online publications, the reproduced images may not exceed 1500 pixels on the longest side and 72 dpi. Unauthorised reproduction, distribution, or exhibition could result in liability under the Copyright Act. Publication of any of these images requires accompanying use of this notice: “Unpublished work © 2017 The Estate of Vivian Maier. All rights reserved.”
Day one saw us head off on our Outback Road Trip from Nagambie with our first stop, Redesdale, just on an hour away. Situated in the Agnes Mumford Reserve on the corner of Lyell Road and Heathcote-Redesdale Road is the Redesdale Water Tank Art. Painted by Damian Arena in 2019, it marks the 10th anniversary of ‘Black Saturday’ when fourteen homes were destroyed along with 7086 hectares of land.
The Agnes Mumford Reserve is directly opposite the Redesdale Hotel – so either works for a pit stop. We parked in the reserve and enjoyed our cookies and hot coffee. As we never know where we are going to find an image – we always travel with snacks and a thermos 🙂
Avoca
From Redesdale, we headed to Avoca. Jimmy Busuttil has been working on the Avoca silo for a couple of months now, but work has come to a standstill while they await permission to paint the other side, which is almost on the railway line, so a few OH&S issues need to be solved. When it is finished, it will have a background of the night sky behind the owl; his eyes and stars will be glow in the dark paint – and it will be lit up at night.
We also stopped off at the railway cafe, up the road from the silo, for a late lunch – but they seemed to be mainly catering to cakes and coffee – and while they were open – there was no one there to serve us.
From Avoca, we headed off on the final leg of the days’ journey – to St Arnaud. Arriving in St Arnaud, we drove around photographing the street murals and silo – all done by Kyle Torney and featuring locals of the town or its history.
St Arnaud
Mural Locations
- The Hope silo – Mc Mahon st
- Ron Reyne Mural – opposite the Hope silo at 14 Mc Mahon st
- Mates Mural – Cnr Wills St and Kings Ave
- The Miner Mural – 22 Kings Ave
- CFA Mural – Cnr Napier and Alma Sts
- Andrea Hicks Mural – side of the wall at 117 Napier St
- Loss Hamilton Mural – 36 Alma St
- Torneys Fighting Fit Gym – cnr of Alma and McMahon sts
- Owen – sidewall of 18 Napier St
- St Arnaud Primary school – observe from Dundas Street
- Royal Hotel Beer Garden at 60 Napier St
We were booked into the Motel St Arnaud for the night before an early start the next day to Sea Lake via the Silo Art Trail. Our motel was clean, beds and shower were good, and the free wifi was fast – for a budget motel it’s excellent value. Dinner that night was at the Royal Hotel, built in 1874 its full of character and old-world charm and decorated throughout with antiques and another mural in the beer garden. We enjoyed wine by the open fire before heading into the dining room for dinner.
It was time to head from London to Paris via the Eurostar through the Channel. We had a transfer arranged already thanks to our travel agent, and he arrived earlier than expected to load the bags. Five adults, five big suitcases, plus camera bags, small travel bags. Down those two flights of steep stairs for the (thankfully) last time.
St Pancras Station
We arrived at St Pancras Station in plenty of time and checked the luggage through to Paris. Then it was our turn. Passport control out of London. Ten steps later, it was passport control into France. While still in London. Twilight zone stuff. After clearing passport control, we then battled through airport security. I understand that they have to be careful, and I am glad they are. But geez, I was so over doing a semi strip at every security counter. Passing through the barrier and hoping it stayed green, thus avoiding the pat-down. Then retrieving everything once through. While they open the bag, checking the camera’s, looking in every pocket. “do you have any more camera’s or electronics”?? no! isn’t this enough? Came, lenses, iPad, iPhone. Road trips are starting to look so good.
With the early arrival of the cabbie, we had about 90mins to wait after getting through passport and security. We were on the 10:24 to Paris, not much to do, which led me to people watching.
The Channnel Tunnel
Sometimes called ‘the chunnel’, the Channel Tunnel is an undersea tunnel linking southern England and northern France. The Tunnel is 31.5 miles long, or 50.45 km, with 23.5 miles (37.9 km) of the Channel Tunnel is under the English Channel, making it the world’s longest undersea tunnel. The Eurostar travels through the Channel Tunnel at a speed of 100 miles per hour (160kph), although when the train is outside the tunnel, it reaches the rate of 186 miles per hour (300 kph). The ride was comfortable and even though we were racing along at speed. Although walking and not swaying to the buffet car was easy.
Hello Paris
London to Paris was just a two-hour journey, and we arrived in Paris again to meet our transfer driver. Booking into the hotel, we were horrified and dismayed to find the elevator in the hotel was out of order. And being a Sunday, the engineer hadn’t turned up yet. So again we lugged the suitcases up two flights of stairs to our room..and one of our party was on the FOURTH floor, though thankfully, they weren’t as narrow or as steep this time. The hotel was charming, and the rooms were lovely.
After settling in, we all met up for dinner before a reasonably early night. The following day we met up for breakfast in the ‘salon’ (using the stairs still, no one trusted the tiny elevator) before heading out for the day. We jumped on the hop-on/off the bus and made our way into the city with all the signs in french, we had no idea where we were going. Eventually, we ended up on embassy row. The US embassy is off a side street, with many other embassies and fancy shops lining the street. Soldiers with machine guns told us not to take pictures of the checkpoints (who are we to argue?). Even some doors were off-limits. Oh well. Here are some of the pics I didn’t take.
Wandering up and down, I tried some street photography before heading back to the bus and the Palais Garnier.
Paris Opera House
The Palais Garnier (Paris Opera House) is an AMAZING building. Unfortunately, we didn’t get to go in, but the exterior! OMG. Built from 1861 – 1875, the 1,979-seat theatre was designed to house the Paris opera. The building is a blend of baroque, classicism and renaissance architecture. I could so see the phantom of the opera haunting the place.
Leaving the Opera House, we jumped back on the hop of/off the bus, headed back to the hotel for some downtime before heading back out to dinner.
Melbourne Open House is an annual event held at the end of July. Its goal is “connecting people with good design and architecture in the city”. Over 100 buildings of significance that are generally closed to the general public are open during the two days it runs. Either through tours or self-guided.
It’s always massively popular, with tickets for some locations (all of it is free) going within minutes of bookings opening. I missed out on the tours with ticketed entry. But I was taking part in the ones where you joined a long, snaking queue or took a self-guided tour.
Victoria Police Mounted Branch
Constructed in 1912 and one of the most extensive stables built and remaining in Melbourne, it houses 17 horses. They will move to new, purpose-built, modern stables at Attwood in the next few months. The Victorian College of Arts recently purchased the building.
After a refurbishment that keeps the heritage aspect intact, it will open as an art gallery space. The queue here took an hour to get to the door, and we were in and out in about 20 mins. The police horses are used in crowd control and search and rescue. The horse is nudging the ball (how they teach them to push people back) is massive. He’s the tallest one they have and stands at 17 hands high.
State Library of Victoria
Opening in 1856, with the famous dome completed in 1913, the State Library takes up an entire city block. It is Australia’s oldest public library and one of the first free libraries in the world. They claim to be Australia’s most patronised library, with 1.7 million visitors through the doors each year and another 3 million online. The state library is about to undergo an $83 million renovation, with $53 million being spent on Queens Hall alone. The renovation of Queens Hall will restore it to a reading room, reopen the skylights, and feature a new rooftop garden terrace.
It’s a truly magnificent building, with the Latrobe Reading Room under the great dome at its heart. Its massive rooms and high vaulted ceilings are exhibitions of paintings and sculptures, and books. The forecourt features statues, gently sloping lawns, and two large chess boards. Queens Hall is located in the oldest part of the building and, except for special events, has been closed since 2000. It’s a vast hall 145 feet long and was the original reading room until the domed hall opened in 1913.
Substation J
We arrived at the substation shortly after it opened on Sunday, and the queue was small. Substation J is an operating substation with live electrical equipment. So, we had to dress up with hairnets, lab coats, and hard hats (not that I understand how a lab coat would save me from electrocution. The substation was considered ‘state-of-the-art’ when it opened in 1953. However, Substation J has been a hidden time capsule since it closed in 1980. It remains a functioning power station. However, it is now fully automated, and the old control room is shut off and off-limits to all except a few. As the old control room was offline, there was no danger of us plunging the city into darkness ;). So we were encouraged to play with the buttons and handles while there.
Tasma Terrace
Considered one of the finest examples of a 19th-century, three-storey terrace house, Tasma Terrace began life as a guest house in 18. In the 1970s, there were plans to demolish the building and build high-rise towers. However, the National Trust of Victoria purchased it after a successful public campaign.
