Thursday, 6 March 2014
Studio set
Being unsuccessful in finding access to homes previously lived in, my aim has moved to look into objects, their relationship within each other and on their own. Therefore Still Life is the basic theme, currently. I thought I should start with a test shoot with some starting objects in the studio. I wanted the objects to follow a visual aesthetic, what you would typically find in a 17th century Still Life painting - fruit, vases, glass, scarves, old objects. But I wanted the set-up modern, skewed and unusual to play around with different composition/different visuals.
I initially started with small selection, playing with set-up and finding abstract frames within. I attempted getting in close to the objects for the abstract framing, and standing further away to see how the objects worked together but neither worked and it was all too messy and mixed. The objects didn't compliment each other and I could find no relation between them.
Upon reviewing Linus Lohoff's work I recalled how he had presented some objects as if sliced in half, emerging from nothing. I had coloured reflective perspex at had and arranged the fruit available at the time, as if sliced but emerging out of water (blue). The use of minimal composition works well drawing full attention to the "illusion".
- I also took use of the infinity curve for a modern backdrop with typical still life objects to try a different outcome.
- I played with the reflections/refractions with the decanter, the distortion is somewhat intriguing at first glance but no more so, and I ask myself what else is there to this set-up? Not much! I need to give reason to why I am photographing these objects. What illusion is there, what am I trying to say?
There were further experiments with different objects. An antler I had found was an obscure object (obscure shape, unusual setting) I hoped to involve. The visual composition is interesting here, one meandering linear object situated next to several simple 'blobs' of orange, dotted across the frame. The objects are an interesting comparison, ignoring their practical/literal use but concentrating on their visual form. - Much more suited to my own style and a different approach to the typical Still Life symbolism, which was the very aim of this shoot - to experiment/play around with approaches to Still Life art/photography.
Overall I found from this shoot:
- Some interesting techniques when it comes to what I do with/how I arrange the objects - cut in half, obscure shape and use illusion.
- An idea to follow, concentrate on shape and form rather than symbolic meaning.
Friday, 28 February 2014
Jan Groover
Jan Groover
Groover was noted for her use of emerging colour technologies and her formalist still life photographs of household objects. Although originally a painter, she moved onto photography, stating that "With photography, I didn't have to make things up, everything was already there."
It was in 1978 she turned to her kitchen for new ideas. She used subjects and objects familiar to her, everyday objects she could arrange any way she wanted - experimenting with various combinations until a relationship of shapes, colours and spaces pleased her. These were taken with a 4x5 view camera, enlarged as 16x20" prints.
It is written that the pictures resonate as subtle documents of feminism, but it is the unusual beauty the pictures hold I wish to take from these photographs. The cascading shadows and soft tones in many of the images definitely add to the aesthetic beauty, but (personally) there is a mystery to the images that add depth to the beauty.
Monday, 10 February 2014
Still Life/Dutch Still Life
Still Life
In the simplest of terms, still life is a work of art that depicts (mostly) inanimate objects, usually commonplace objects either natural or man-made (fruit, food, flowers, plants - glasses, books, vases etc). Still life gives the artist freedom of arrangement, therefore choice of composition, texture, colours, layering, lighting and tones. Early still-life examples often contained religious and allegorical symbolism relating to the objects. Hans Memling's example:
Flowers in a Jug, circa 1485
Oil on panel, 28.5 x 21.5 cm
Still life developed majorly in the Netherlands, particularly towards the end of the 16th century. Protestant Netherlands broke aware from the Catholic Church and the use of religious matter and symbolism was coming to an end in Dutch art. Still life was still a popular art 'category', but being such a broad term it split off into several 'sub-categories'.
The most known being: Floral, Breakfast, Vanitas, Banquet.
Floral
The Dutch East India Company (founded in 1602) had a 21-year trade with Asia. Flowers were a large part of this trade, being brought to Holland and were a symbol of Dutch pride being a part of trade. Each flower had its own symbolic meaning and were chosen in paintings for this, rather than their appearance.
Floral Still Life, Rachel Ruysch, 1704
In this particular image, this sort of arrangement would be impossible as the flowers were in bloom at different stages of the year. Again each flower has its own significance, whilst insects were painted which also had their own meaning, tied into Christianity. Bee = passion. Its stinger = Christ's crown of thorns. Butterfly = resurrection/soul. Flowers = fleeting nature of life, from buds to blooms to withering.
In the simplest of terms, still life is a work of art that depicts (mostly) inanimate objects, usually commonplace objects either natural or man-made (fruit, food, flowers, plants - glasses, books, vases etc). Still life gives the artist freedom of arrangement, therefore choice of composition, texture, colours, layering, lighting and tones. Early still-life examples often contained religious and allegorical symbolism relating to the objects. Hans Memling's example:
Flowers in a Jug, circa 1485
Oil on panel, 28.5 x 21.5 cm
Still life developed majorly in the Netherlands, particularly towards the end of the 16th century. Protestant Netherlands broke aware from the Catholic Church and the use of religious matter and symbolism was coming to an end in Dutch art. Still life was still a popular art 'category', but being such a broad term it split off into several 'sub-categories'.
The most known being: Floral, Breakfast, Vanitas, Banquet.
Floral
The Dutch East India Company (founded in 1602) had a 21-year trade with Asia. Flowers were a large part of this trade, being brought to Holland and were a symbol of Dutch pride being a part of trade. Each flower had its own symbolic meaning and were chosen in paintings for this, rather than their appearance.
Floral Still Life, Rachel Ruysch, 1704
In this particular image, this sort of arrangement would be impossible as the flowers were in bloom at different stages of the year. Again each flower has its own significance, whilst insects were painted which also had their own meaning, tied into Christianity. Bee = passion. Its stinger = Christ's crown of thorns. Butterfly = resurrection/soul. Flowers = fleeting nature of life, from buds to blooms to withering.
A few modern still life examples
http://500px.com/martinzalba
Having not found much information on this photographer, it's harder to guess the nature of a photograph and why it was even taken. Only given the title do I have some context to go on. With multiple textures, soft lighting and warm/rich colours do our eyes and mind immediately deviate to still life imagery. It's subject matter a little different however, more humble with worn socks and boots, the images tell the story of its owner.
http://500px.com/AnatolyChe
Again, having not found much information on this photographer, the same applies. But we can see the obvious connection to still life painting, soft lighting, natural objects and objects of beautiful shape and texture. A simple painting technique is to have one main source/direction of light, with then added subtleties and highlights. Here the photographer has applied this to the scene.
http://www.digitalcameraworld.com/2012/03/15/in-pictures-3-great-examples-of-still-life-photography/
Linus Lohoff
Linus Lohoff
http://linuslohoff.com
http://www.digitalcameraworld.com/2012/03/14/still-life-photography-linus-lohoffs-constructed-pictures/
A photographer very much inspired by the works of Erwin Wurm, who transformed everyday objects into art. With this series The Constructed Picture, he was looking for great contrast with minimalism - so focused on obscurity with minimal detail and great use of colour for impact.
"Minimum effort – maximum effect."
The use of household/mundane objects follow my current idea to transform their typical use for artistic means. Visually, the images are bold, modern with studio lighting used. I shall have to see which I am to prefer, studio lighting or natural.
http://linuslohoff.com
http://www.digitalcameraworld.com/2012/03/14/still-life-photography-linus-lohoffs-constructed-pictures/
A photographer very much inspired by the works of Erwin Wurm, who transformed everyday objects into art. With this series The Constructed Picture, he was looking for great contrast with minimalism - so focused on obscurity with minimal detail and great use of colour for impact.
"Minimum effort – maximum effect."
The use of household/mundane objects follow my current idea to transform their typical use for artistic means. Visually, the images are bold, modern with studio lighting used. I shall have to see which I am to prefer, studio lighting or natural.
Monday, 3 February 2014
Still life photography/Dutch Still Life
Still life's roots come from the romanticism of traditional paintings and their techniques. During the 17th century, Dutch painting created a specialist form of still life and "raised it to the state of high/fine art". Often showing layers of food, wine, game spread amongst fine clothes, filling the frame with richness. Combinations of texture, warm colour, definitions between highlights and sombre shadows. The market of these paintings was aimed towards the wealthy looking to decorate their fine houses.
The subjects are often simple, mundane perhaps. But with the treatment the objects are given these familiar objects are rendered special. Apply this to photography and at the start, much like the painter, the photographer is presented with a blank canvas to fill. It's best that the photographer builds up the scene themselves, aware of the shapes, textures, colours and tones that will fill up the scene. With the additions of lighting arrangements and various exposure possibilities/techniques, then post-production work, there is much to think about.
What's to be learnt from this? The value of composition, lighting and harmony within the frame.
http://www.crhfoto.co.uk/stillife.htm
The subjects are often simple, mundane perhaps. But with the treatment the objects are given these familiar objects are rendered special. Apply this to photography and at the start, much like the painter, the photographer is presented with a blank canvas to fill. It's best that the photographer builds up the scene themselves, aware of the shapes, textures, colours and tones that will fill up the scene. With the additions of lighting arrangements and various exposure possibilities/techniques, then post-production work, there is much to think about.
What's to be learnt from this? The value of composition, lighting and harmony within the frame.
http://www.crhfoto.co.uk/stillife.htm
Subscribe to:
Posts (Atom)