Part 4

 

Initial Thoughts re Still Life.

When I saw this section my heart sank, as this is one area I have tried unsuccessfully to master over the years. Master is probably to strong a word. Maybe it’s because I don’t particularly like still life, so I don’t put the necessary effort into it or I just don’t have the feel for it. Either way this section will be a challenge. From a cursory glance at the latter stages of this section, I think I may be OK with the Photoshop bits, but I must implement the basics and then getting over the early hurdles before contemplating the other stages.

Further thoughts:-

This gendre may be considered by some as the easiest, as you are in total control of all the elements. However this will often make it harder because every part of the image has to be thought about and arranged by you. It’s unlikely you will come upon a perfect setup for a still life, you are the one responsible for thinking about all the stages and implementing them. Even then there is no guarantee for success. In a lot of cases success does not happen for a long time.
During the initial process, there are various items apart from the objects that will need to be used or thought about:-
• A tripod – this will ensure that the camera stays in the same position which other parts of the still life are manipulated. Can it be used without stinting creativity?
• Lay out – the siting of the various elements will need to be considered very carefully. Some layouts are more aesthetically pleasing than others. The space surrounding the objects can make or break the balance and composition.
• Lighting – this is crucial like all photographs, but more so here as often still life is more of a close up – so light and shadows may enhance or ruin the atmosphere. Will you use artificial lighting (flash etc.) or natural window light? Will you use reflectors, coloured gels, filters etc.,- all of which will have an impact on the finished product.
• Backdrop – depending upon what is used can enhance the objects in front of it, pick up the subtle shadows or the worst case, eclipse the objects totally.
• Take your time – don’t rush, create your setup – walk away and return – does it still have the same impact?
Often still life photos are taken in doors, and usually on a table top or area raised off the ground. This is where photography mimics the style of the old masters. This also enables the photographer to move around the subject(s) as well as controlling all aspects of lighting.

There are some photographers who venture outside using nature as the backdrop and just adding a couple of items to create a completely different image.

At the end of the day – You are only limited by your imagination and creativity.

More Still Life Research:-

“The Q&A Guide to Photo Techniques” – Lee Frost.

The key is to look at simple objects in terms of their colours, textures, shapes rather that what they really are.

There is no limit to the number of props that can be used in still life – but you must be able to justify their presence otherwise they should not be included. It is easy to overcomplicate a composition by adding more and more props, but this usually creates a confusing clutter rather that a pleasing picture.

The solution is to keep things simple and take it slowly. Start with an empty table and one or two key props – then slowly add more until you come up with a pleasing, balanced composition – sometimes you may only use one or two items.

Don’t worry if the composition looks a little gappy – the space between the props is as important as the props themselves in terms of the overall visual balance of the shot, so avoid trying to fill every vacant space with something else. Often one or two objects in plenty of space can produce superb results.

Finally try to make your composition look natural and lifelike, rather than being too ordered and tidy. There is nothing wrong with continuing the still life outside the picture area, for example – so some props are cut off at the frame edges. This tends to produce better results than a still life that fits perfectly into the camera’s viewfinder because it adds intrigue.

Other Quotes:-

A great still life can unlock emotional response to an object – Adam West.

Still life is a very pure way of working. Nothing need be in a still life photograph that you don’t want – Sandro Sodano

Examination of the works of Peter Fischli and David Weiss, Peter Fraser and Nigel Haworth.

Fischli & Weiss.

These individuals collaborated to create numerous works, and possibly the best known would be “The Way Things Go”, which is a set of chain reactions which involved fire, fireworks, petrol and various other flammable materials, resulting in other objects moving causing the next stage to start. This sequence was part of the inspiration for the subsequent Honda’s advert “Cog” which used various parts of a Honda car to achieve the same effect.
A lot of their work would mean using everyday objects for purposes for which they were not designed. They would place them in precarious positions giving the impression they were about to fall or collapse, in fact they were in a state of equilibrium. For how long is another question.
Obviously they were looking at objects to utilise in the replacement of others to create unlikely juxtapositions.

Peter Fraser

Peter Fraser is a contemporary photographer who was in the forefront of colour photography as a fine art medium during the early 1980’s. A lot of his work revolves around the everyday “stuff” of the world, bits and pieces which are every where.

This is part of the work from his exhibition held at St Ives in Cornwall.

Nigel Haworth
Working on the presumption that the pregnancy tests are showing not pregnant, then yes the symbolism works. Chopping board – no longer a living tree being able to produce fruit / Old fruit unable to deposit it’s seeds in fertile soil and the kits as previously mentioned all add up to “infertility”.

 

Exercise 4.1 Fragments.

Initial suggestions were to review the “Weeping Woman” by Pablo Picasso and also “Spring 2011 – Fall 2012” by Brendan Fowler.

Weeping Woman

 

Exercise Requirements:-

• Arrange a still life set up
• Use a single source of light
• Photograph around the objects
• Capture edges – showing depth
• Take picture of the textures & colours
• Min 20 photographs

Then combine parts of the objects into one photograph by moving items around either in Photoshop or by cutting prints up and moving the bits around.

Following on from some very good feedback I have decided to remove the work done and start afresh, with a bit more research before commencing the photography.

I know that I have now cheated by having more than 3 objects but having reviewed various pictures of the “Old Masters” I thought that the only way I could progress with this subject was to try to partially replicate what they did. I did find this easier than my first attempts – I also believe that by doing this exercise again, I have partially overcome my dislike for still life. Whilst I am still not a fan of this genre, I probably now have a greater appreciation of it.

 

Revised version – based upon some feedback. Still not convinced Still Life is the genre for me.

 

Exercise 4.2 Constructed Imagery

The objective to this exercise was to fill a space with objects to hand whilst considering the different aspects of lighting on them.  Whilst undertaking this exercise (repeated as not happy with first attempt), I was using my new toys (see blog) which gave me more flexibility and also a constant light (built in modelling light).

I believe that this set is infinitely better than my first attempt, whilst still not perfect  as there is always room for improvement.

I still don’t enjoy still life, but at least this was not as traumatic as the first attempts. Who knows one day I may become immersed in still life and get stuff published ( this is of course being said tongue in cheek!)!

Picture Analysis:- Laura Letinsky

Picture Analysis Laura Letinsky

Exercise 4.4 Patchwork

The requirements are a series of photographs of textures and colours, objects and forms. They can be close or wide shots of essential things like clothes, bricks, bark, grass, sky, etc. Try to render everything “abstract” or not entirely recognisable by altering your viewpoint.

I am considering undertaking this in two parts – one just using tree bark and potentially converting to black and white, which will highlight the textures as well as being abstract. However having identified that the example in the course book was not abstract enough as there were numerous photo’s for which the subject was easily identified, I decided to try to make my shots as abstract as possible whilst still incorporating colour / texture.

Exercise 4.5 Layers

The objective was to capture an image which included a layered imagery. That is to say capture an image with foreground detail, reflection of something in a window and then a background environment on the other side of the window. At first this seemed fairly easy and straightforward, but like everything else it was not so. My initial efforts either captured the foreground and reflection, but failed to obtain a decent background image even with a large depth of field. Others were the reverse i.e. background and reflection OK, but foreground not.

After a lot of perseverance I managed to get this shot whilst sitting in a carpark waiting for my son to start driving again.

In this shot there is an extra bonus in that there is not only a reflection in the glass of the corner of the door, but also a further reflection in the mirror. Also as there is very little colour involved it stands out more.

Exercise 4.6 Image Layers Photoshop

I considered this part whilst away registering my mothers death and arranging her subsequent funeral. I tried to spend a bit of time on this and concentrate on obtaining a core base image, suffice it to say a lot of the time my thoughts were elsewhere, and I don’t thing I achieved the desired effect in Layers 1.

Subsequently I reviewed a few of my other photo’s of buildings in London and found a few which had interesting facades which I thought would lend themselves well to this exercise.

Actually now I have had a bit of time to review the items again I am starting to prefer the first one. I think the 3 almost black and white images over the top of the colour one works better, especially as there are more dark areas which when converted to screen helps the various shapes of the buildings and the sculpture show though.

Exercise 4.7 Photomontage

This exercise was not a straightforward as it initially seemed, trying to find a backdrop was the hardest. There were plenty of pictures of people, especially ladies advertising perfumes / dresses etc. Luckily enough there was an article in one of the magazines I picked up which referred to the waste bits of plastic which finds its way into the Thames. So I used a sauce sachet for the mouth, a toilet cleaner receptacle for a pendant, and what appears to be a funnel for the nose, the eyes were buttons taken from another magazine.

 

Exercise 4.8 Photomontage in Photoshop

This exercise made me use some of the skills I have been practicing re cutting out objects as well as using the erasure tool. The photographer was the hardest bit, and I can see that I should trim him even closer – but the remit did say not to be too tidy or perfect.

The background is the seawall and the yachts, the foreground is the photographer and the beginnings of the pontoon walkway, and the middle ground is the wreck and the Meer cat. Whilst the photographer is not quite pointing at the Meer cat, I thought that is was quite a whimsical output.

Exercise 4.9 Repetition

I took some inspiration from the work of Sarah as she is further advanced in this area than I am. I came across this door knocker whilst out looking for graffiti and the blue offset enhanced the gold knocker. I used Photoshop to produce 6 slightly different versions. I will left this for a day or two before considering the final one to replicate. This was the outcome.

 

Learning From Other Photographers

Development areas:-

1. Still Life – I am dismissive of this genre as I don’t understand what the photographer is trying to say. I shouldn’t be dismissive, but try to view the piece as a whole and not just things thrown together. I need to consider the tones, shadows and also the empty spaces and what they bring to the final image.
2. Patience – Often I will see things – grab a shot and move on. I need to spend a bit more time studying the subject and the surrounding area – is there a better place to stand for instance? Are there distractions within the frame, is the lighting correct? Am I there at the best time of the day, or should I return another time? I accept sometimes it is not practical to return, but spending an extra 5/10 minutes looking could make the difference between a good photo and a mediocre one.
3. Try other genre’s – don’t restrict myself to those that I presently enjoy. Until another style has been tried I don’t know if that will also be enjoyable, and become something I would continue to do. I should not ignore new challenges or be contemptuous of them just because I do not like them (through ignorance) or understand the skills needed to make the images seem easy.
4. Spend more time analysing photographs, and note what seems to work or what jars! Is there a reason why this has been done, was it intentional or just a fluke? Don’t be short / curt with the analysis, take more time and think outside of the box – take longer over assessments and produce fuller explanations. From analysing other peoples work as well as your own you can learn in two ways – what does work and where things have not worked so well but could be improved. Only from this understanding can I improve my quality and standards of work.
5. Photographing peoples pets has always been an issue, especially as it is difficult to control and animal if it does not want to do something or stay where you want them. I have been asked to photograph a friends 4 cats but this will need a lot of thought and patience, especially as the cats don’t always play well together! Also the other concern is the owners expectations and what they want – this will also need to be managed.

Photographic areas of interest:-

• Street Photography – especially candids.
• Graffiti – those which are murals and works of art as opposed to the “tags”.
• Portraiture – this can be studio or outside.
• Pub Interiors – this is part of an ongoing project to capture “The Changing Face of the English Pub”.

Whilst there have been various photographers over the years whose work I have appreciated – Baily, Litchfield, Lange, to name but a few. I have yet to sit down and try to emulate their work – that is until I saw the photograph of Louise Brooks by Eugene Robert Richee, and the results are below.

Exercise 4.11 Emulation

I came across this photograph in an old magazine, as I was starting to have a clear out. It was a photograph of Louise Brooks taken in 1928, by Eugene Robert Richee. Considering the date it was taken it is a lovely black and white portrait, and taken a lot of time and patience to achieve this photograph, I suspect there was also work done in the darkroom as well.

 

Eugene Robert Richee headed Paramount’s portrait studio from its inception and he worked with a talented coterie of associates including William Walling and Don English. Richee remains the least examined among the top Hollywood photographers although he was one of the finest – one needs to look no further than his sensational portraits of Paramount stars Anna Mae Wong , Clara Bow , Louise Brooks and Marlene Dietrich as evidence. He was not well known as some of his associates and to find out information about him is very difficult, as there is little to be found apart from his excellent photographs – which are a tribute to his skill. Simplicity was his hallmark, and would often use various props such as mirrors, plastic and glass to give a sheen to his work.

The things that appealed to me to start with was the pure black and white tones. The lighting was “simple” and not overpowering and I believe it was a longish exposure, but the final product was done in the darkroom to ensure the blacks stayed black and the whites came through. It showed the elegance of the era as well as the style of the 1920’s including the razor cut hairstyle. The one question I cannot answer is – how did he conceive such a wonderful photographic idea, especially as most of Louise Brooks is hidden. Yet the final outcome is superb. Every time I look at it I just think – fantastic

This picture is copyright of Eugene Robert Richee

This photograph was quite a challenge, as there was a lot to consider, even though it looks quite simple.

Firstly I needed to find a black dress – (involved me in trying 12 shops in 3 different towns, as well as online before I found one) however it was still not a full length one, so required cropping the images. I needed to find a slim model who could stand still and not smile or giggle (easier said than done). In the end I used two different friends to try to capture a similar image. I already had a black background that I could use. I needed a black wig to capture the era as well as a long string of “pearls”. The wig was easy, but I had to join together two long strands of beads to get the required length.

This was the attempts:-

The one thing I have realised from this exercise is what looks simple is very difficult to produce. I have had to resort to using Photoshop to crop the image and to also enhance the blacks and highlights. Even the conversion to black and white does not produce the same alabaster complexion as the original taken by Richee.

At some stage in the future I will repeat this exercise to endeavour to produce an image closer to the original.

Having said that it was great fun trying and has given me even more respect for the earlier photographers who did not have the luxury of the digital cameras and very powerful software.

Exercise 4.12 Presence / Absence

Initially I didn’t have a clue where to start. Then my eye caught various family photo’s which included a small one of my mother and father – both now deceased. Whilst the photograph was not large enough to make an obvious statement when taken away, it would have done psychologically for me. I may return to this theme in due course, and use Photoshop to make the effect.

The next thought was to capture the garden covered in snow – then when the snow melted showing the garden beneath. Nature decided otherwise – the snow stopped at about 19:30 and it looked good – however overnight the temperature rose and a lot of the snow had melted or tuby 07:30 this morning – so plan B had to be scrapped. Also there is no likelihood of any more snow.

I have resorted to the first thought – and after some searching was able to find a slightly larger one of my parents (when they were courting). The other pictures are of my two boys (men really) when they were small –  and the one at the back is my youngest son’s  first graduation (with my wife and sister in law – now he has his masters degree (2), but still trying to catch up to the eldest one who has 3 degrees and is an architect.

As the second picture shows there is a space, an emptiness which due to her recent death is still slightly raw.

Assignment 4 – Responding to a Theme

I have decided to use “Pause” as the theme. Firstly lets define our understand of “Pause”. It can be defined as ” a temporary stop or rest, during an activity or speaking”. Synonyms – suspension, interruption, break, halt.

My initial idea was to use the consumption of a pint of Guinness as it would show the various lines down the side of the glass during consumption and pausing. Before heading down this route I thought I would clarify with my tutor on whether the use of a person was permitted in a still life. Obviously after due consideration, it was suggested that a person should not be used. She also suggested looking at the work of Irving Penn, which I did and the following item became the basis of one of the ideas.

Empty Plate by Irving Penn 1947.

So back to the drawing board

The next image also set the grey cells working and have given me a further idea on what I can do:-

Scenario 1 Research

Objects:-

• Several books to suggest research
• Paper or notebook with some narrative – partially completed
• Possible a few old photographs and pens / pencils.

Sequence:

1. Books laid out with the notebook with limited notes and pens / pencils
2. Open the books to relevant pages and add more notes onto the notebook / paper
3. Include the photographs and include more writing
4. Put reading glasses onto the paperwork and stop the writing partially through a sentence or word
5. Close the books.

 

 

Scenario 2 Breakfast

Objects:-

• Bread or croissant
• Butter / cheese / cold meats / pate
• Knife / Plate
• Fruit
• Drink – possibly hot chocolate

Sequence:-

1. Items laid out ready to start
2. Break the bread or croissant
3. Spread butter or pate onto bread and take a bite – (this should leave a distinctive pattern)
4. Similar action with bread / cheese
5. Take a drink from the cup so that the levels drop to at least half
6. Leave half finished bread with the knife on the side of the plate – showing a pause.

This set up will require lighting from the side to suggest the low angle of the sun early in the morning. The shots should be taken from about a 80 degree angle to show the food etc being consumed, but also to remove the need for a backdrop.

I tried this option first as I felt there was more scope to what could be included or not – and the results are below. Whilst undertaking the set up I decided to ignore the drink as it I felt that it caused too much clutter, and did not add anything to the final object. I used one of my old studio photofloods with just the modelling lamp on and bounced into a gold reflector – this added a warmer feel to the photo’s and gave the impression of the early morning glow of the sun!

The final photograph with the unfinished bread and the croissant which has not been started I feel shows that there has been a “pause” in the proceedings and left you asking what will happen next?

Reflection on this Chapter.

This has been the hardest section yet, probably due to the fact it was still life initially, which is a genre I have tried several times over the years with no success. However having discussed this with my tutor, and read a number of books I can appreciate the genre a bit more. However it is still not on my list of subjects that I intend to pursue. I did enjoy the final piece as it made me think and then I also got to enjoy eating the set up – bread / cheese / ham / pate – the only thing missing was a glass of wine – was a bit early for that. I wonder if I am starting to understand “still life” – only time will tell!

Previously I never looked at photo’s apart from as a “final” image, I never considered how they were put together. Having said that it is only since I commenced this course that I have started to try to analyse how shots may have been taken. I also think that some of this learning is sinking into my sub conscious and starting to come through in my work. I am more aware of my surroundings and where photo opportunities can be found. Some people look but never see!

 

Suggestion from other members of the group have also assisted me when my brain has gone blank. We all interpret things differently and the sharing of ideas has made this chapter as well as the course as a whole enjoyable. I can now see that there is no right or wrong – only your own interpretation.

 

 

References

www.peterfraser.net/exhibitions/2013-peter-fraser-tate-st-ives