1. Still Life Photography A2 Level Photography 30/11/2011
2. Still Life PhotographyAim: Understand Still Life photography techniques and artists.Learning Objectives• To be aware of the principles underpinning composition.• To understand the developments in the still life genre.• Produce a series of still life photographs inspired from artist research.
3. Still Life PhotographyBrainstorm:Compile a list of Still Life photographers andidentify compositional techniques used.
4. Still Life PhotographyStill Life PhotographyStill Life images can be just about anything thatdoesnt move. The definition of a still life subject isan inanimate object but other subjects are looselytermed as still life as well. These include flowers,food, etc. They are life forms but they dont move.Source:http://www.schoolofphotography.com/courses/free-photography-tips-and-articles/19-still-life-photography.html
5. Still Life PhotographyComposition…Composition, is a key element often used in still life photography, forthis reason we will highlight a range of compositional rules applied,these rules are generic and can clearly be used in a wide range ofphotography genres.
6. Still Life PhotographyComposition…Composition, is a key element often used in still life photography, forthis reason we will highlight a range of compositional rules applied,these rules are generic and can clearly be used in a wide range ofphotography genres.
7. Still Life PhotographyIdentify the compositional technique used
8. Still Life PhotographyIdentify the compositional technique used
9. Still Life PhotographyIdentify the compositional technique used
10. Still Life PhotographyIdentify the compositional technique used
11. Still Life PhotographyIdentify the compositional technique used
12. Still Life PhotographyStudent task.•Construct two still life photographs.•Utilise studio lighting for one image and natural lighting for the second•Download images and edit in Photoshop•Consider compositional techniques in your photography.Complete task and present by 05/12/2011
13. Still Life Photography•Henry FoxTalbot•Photograms
14. Still Life Photography•Henry FoxTalbot
15. Still Life Photography•ImmogenCunningham Agave Design 1, 1920s
16. Still Life Photography•Immogen Cunningham•Starting in the 1920s, she began making sharply focused,close up studies of plant life and unconventional views ofindustrial structures and modern architecture. Concernedwith light, form, and abstract pattern, these photographsestablished her as one of the pioneers of modernistphotography on the West Coast.
17. Still Life Photography•ImmogenCunningham
18. Still Life Photography•Laura LetinskyThe still life genre is unavoidably a commentary on society’smaterial-mindedness and the way images promote a kind of promiseof attainability. I am not interested though in the allure of the mealthat awaits an unseen viewer’s consumption. Instead, I photographthe remains of meals and its refuse so as to investigate therelationships between ripeness and decay, delicacy andawkwardness, control and haphazardness, waste and plenitude,pleasure and sustenance. Throughout my long-term photographicpractice I wish to engage the photograph’s transformative qualities,changing what is typically overlooked into something splendid in itsresilience. I want to look at what is “after the fact,” at what(ma)lingers, at what persists, and by inference, at what is gone.
19. Still Life Photography•Laura letinsky
20. Still Life Photography•Laura letinsky
21. Still Life Photography•Edward Weston•it strikes me that what he actually did, more often than not,was make the commonplace wondrous and beautiful. InWestons still lives, for instance, the tonal quality of hisblack-and-white prints imbue everyday objects, both naturaland man-made, with a heightened presence thatsometimes makes them seem almost unreal. In hisjournals, he wrote that his aim was to render "the verysubstance and quintessence of the thing itself, whether itbe polished steel or palpitating flesh".••Sean OHagan•guardian.co.uk, Wednesday 18 August 2010 16.49 BST
22. Still Life Photography•Edward Weston Pepper, 1930 Edward Weston negative, Cole Weston print
23. Still Life Photography•Edward Weston
24. Still Life Photography•Ori Gherst Pomegranate, 2006 Using extremely high-speed cameras, Ori Gersht has recreated in the film ‘Pomegranate’ a Renaissance like still life composition. Whereas such paintings attempted to preserve motionless moments frozen in time, Gersht’s compositions are obstructed by fast and violent intervention. In ‘Pomegranate’, a film that references Juan Sanchez Cotan’s 17th century still life and Harold Edgerton’s stroboscopic photography, a high velocity bullet flies across the frame in slow motion and obliterates a suspended pomegranate, bursts it into open and wheels it slowly in the air like a smashed violated mouth spraying seeds. This peaceful image transform into blood shade. In doing so the film establishes a dialogue between stillness and motion, peace and violence.
25. Still Life PhotographyPomegranite 2006.
26. Still Life Photography.•ZacharyZavislak
27. Still Life Photography•JonathonKnowles
28. Still Life Photography•JonathonKnowles
29. Still Life Photography•Irving Penn Cigarette 17 New York, 1972
30. Still Life PhotographyCigarette Butts and Sidewalk Debris•Not surprisingly, he concentrated on producingphotographs intended to be viewed as art. In 1975 theMuseum of Modern Art presented a small exhibition of hisrecent work printed using the platinum process: a series ofgreatly magnified images of cigarette butts, transformedfrom gutter discards to near landmark status, and showingMr. Penn’s penchant for straying far from the politesse of hisfashion and portrait pictures. The cigarette butts werefollowed by a series focused on other forms of sidewalkdebris, Irving Penn, Fashion Photographer, Is Dead at 92. New York Times ANDY GRUNDBERGPublished: October 8, 2009
31. Still Life Photography•Irving Penn After-dinner GamesNew York, 1947
32. Still Life Photography•Macro lens•Macro photography is close-up photography ofusually very small subjects.•A macro lens literally opens up a wholenew world of photographic subject matter.It can even cause one to think differentlyabout everyday objects. However, despitethese exciting possibilities•http://www.cambridgeincolour.com/tutorials/macro-lenses.htm