Picturesque still lifes of the 14th century told about the transience of everything earthly and the inevitability of death. They were filled with symbols, the meaning of which today is difficult for the average viewer to understand. What does modern photographic still life tell us about? What topics concern photographers working in this genre? We will learn about this at the seminar.
WHAT WILL YOU LEARN?
-Have the main themes of still life paintings been preserved since the Middle Ages? What do works in this genre tell today?
-What is better for a still life - fruits, butterflies, flowers or garbage?
-Is it possible to create a still life from a thousand objects?
-Who makes the most outrageous still lifes?
-Is it possible to shoot still lifes underwater and what comes of it?
-Is it right to photograph composed compositions or is it better to find compositions that have formed by themselves?
-Is it possible to use Photoshop when composing still lifes or should everything be “fair”?
WHO IS THIS FOR?
The seminar is designed for a wide range of listeners and does not require special skills. The class will not be boring for anyone present; all you need is an interest in modern photography.
Video information
Name: Photography as Contemporary Art: Still Life
Andrey Zeigarnik
Release year: 2017
Genre: Seminar
Language: Russian
Released: Russia
Duration: 02:21:54
File
Format: MKV
Video: AVC, 1440x900, ~997 Kbps
Audio: AAC, Lossy Kbps, 48.0 KHz
File size: 1.1 Gb
Still life can rightfully be called one of the most complex genres in any form of fine art. And in photography as well. Nature, for example, is beautiful in itself. In order to create a good landscape, the artist just needs to find an attractive place, in other words, a beautiful nature, and convey the state of nature on the canvas. Yes, it is, of course, difficult. Very difficult. Not everyone can convey the mood in a picture. It's more difficult to do this in still life. Indeed, in a still life, unlike, say, a landscape or a portrait, the artist himself organizes this nature, builds the composition himself, selects objects for the image... All this applies to photo artists. When working on a still life, a very important role is played by the author’s creative imagination, knowledge of the laws of composition, a sense of texture and light... After all, unlike the landscape already created by nature and man before the artist, the artist creates a still life from scratch, organizing it on a blank sheet of paper. Where there was nothing before. This is probably why not every artist is able to create a good still life. Just look at the painters. Are there many real masters of still life among them? There are many more portrait and landscape painters... The same can be said about the art of photography.
In this article we will try to tell you how to create a good photographic still life. Of course, we will give some advice on this matter. We hope they will help you in your creative work. They will become an incentive for creative growth.
Where does still life begin?
A still life begins with a concept, that is, in other words, with an idea. Look around - what is in your home that is of interest as an object for composing a still life composition? What objects “ask” to be included in the frame? Old and “textured” objects look very good in a still life - various vases, clocks, antique books, porcelain figurines, table lamps, sets, candlesticks and candles, some things made of coarse and large weave fabric - napkins, tablecloths... Look good in still lifes of fruits and vegetables. Flowers are also one of the favorite objects of still life painters. Moreover, the flowers are not only fresh, but also dried. There is no limit to imagination here. A variety of objects are suitable for still life. The main thing is that all these objects are in harmony with each other in form, color, texture, meaning... Well, for example, what is the idea of combining, say, pliers and a vase of apples in one still life?
Let's start with at least the simplest composition: a still life, the main “character” of which will be a bowl of fruit. Someone will say that such a still life is the most common, widespread and far from new. So what! Agree, what could be more beautiful and interesting than beautiful fruits in a beautiful vase? This will be the idea of our still life. Now let's decide which objects we have that can be placed next to such beauty, what textures and colors will be in harmony with the colors and textures of the fruit and the vase itself. Considering all this, remember about the semantic content of the still life. After all, a still life, like any other painting, should tell a story. Well, imagine, for example: a vase with apples, pears and cherries, and next to them are several wildflowers and a mug of milk. All this is located on a simple plank rustic table. Here's a story about an early morning in the village!
Choosing a place to shoot a still life
Anything can serve as an object table for a still life. Any table in your home can play this role. And not just the table. Objects for still life photography can be placed on the windowsill, on the bedside table, even on a shelf in the closet. The main criterion here is the strength of this object table and its sufficient area. So that there is a place where your creative imagination feels calm, so that it is spacious and easy for it to live there. Even on the floor you can organize compositions of objects for shooting still lifes. Well, if the surface on which you place your objects is unsightly or does not at all meet all possible criteria for the still life you are working on, then you can cover it with a beautiful fabric: a tablecloth or napkin. You can simply put a piece of paper or beautiful plywood on it, for example.
Don't forget about the background of your still life. The background in this genre of fine art plays a very important role. After all, it is he who sets the entire mood of the painting (and photography, of course)! Well, for example, if the background of your still life is black, burgundy, dark brown, or a combination of these colors, then your picture will turn out dramatic, in some ways even a little gloomy. A light background - white, pink, light green, blue - will give the still life tenderness, sensuality, and romance. It’s good to shoot “female” still lifes against a light background, and “male” still lifes against a dark background. That is, those in which the still life objects seem to belong to a woman or a man, or are intended for them.
Material for background A still life can be plywood or cardboard, painted in the desired color, or any other material, preferably not reflective, but matte. It is very difficult for even good photographers to work with a glare background. If you use fabric as a background, then it can be beautifully draped, that is, laid in spectacular folds. Some people manage to shoot still lifes without using the background as an object at all. You can do this if you are not using natural light, and shoot only under artificial lighting in a dark room. In this case lighting should be directed exclusively at the objects being photographed themselves. At the same time, everything else that remains outside this spot of light goes into complete darkness and turns into a deep, beautiful matte black background.
Building a still life composition
Creating a composition is perhaps the most difficult stage in working on a still life. To some, this stage may seem unimportant and uncomplicated. It seems that, at first glance, everything is simple: put beautiful objects beautifully on the table - and start photographing them. But this is not true at all. More precisely, it’s completely wrong! Very quickly you will understand that some objects are not in harmony with each other, for example, in color, in size, in meaning... The composition turns out to be disproportionate, “falling over” to one side or the other. In short, the realization that this stage in working on a still life is the most difficult and most important will come to you later or sooner. And you will understand that it’s not that perfect, but even just correctly placing objects for a still life is a very, very difficult task. And not every photographer and artist can solve it quickly.
So, let's get down to the actual work. We begin to create the composition of our future still life.
First of all, we need to determine what will be the center of interest for the viewer in our still life. Simply put, what will be the main object in our picture, the one around which the entire story being created will develop and revolve. Well, since we started talking about still life using the example of a bowl of fruit, let’s continue this topic. Let it, this vase, be the center, the main object of the entire composition.
The first thing you need to take into account is that the semantic and geometric centers of any painting, including photographs and, naturally, still lifes, do not always coincide. In short, if our bowl of fruit is located clearly in the center of the frame area, at the intersection of its diagonals, this is bad (Most often bad. But do not forget that there are exceptions to any rules...). So we recommend moving the vase to one side of the frame. You can place or put one or more other objects nearby. Well, for example, put one apple near a vase. Or put a beautiful glass of wine next to it... If you so wish, you can leave the bowl of fruit in splendid isolation. And this can also be beautiful and harmonious. But, nevertheless, it will be quite difficult to do this. Minimalism has always been a difficult genre in fine arts. The simpler the better - this is the main principle of minimalism. And not every artist can bring it to life, into reality. So, to begin with, we recommend that you still create a still life composition from several objects. But do not forget that all these objects are connected to each other in meaning, harmonized in color, shape, size and texture. For example, if red apples are comfortably located in your vase, then next to it, on a beautiful snow-white tablecloth, you can put a proud red rose. Or red poppy. But, say, the mixer you brought from the kitchen, even if it is red, will be completely inappropriate in this composition. We must strive to ensure that the objects in the still life complement each other, and do not argue with each other, and do not cause a feeling of bewilderment in the viewer.
So, we have decided on the compositions. Let's move on to the next stage of work:
Putting on the light
Properly placed or chosen light in a still life is no less important than its composition itself.
If you are working on a still life at home, not in a special studio, but in your apartment, then it is best to start shooting in natural daylight. In this case, we recommend placing the object table not far from the window or opposite it. Soft, diffused, and at the same time directed light falling from the window onto your subject composition will create beautiful, long, soft shadows from objects, and at the same time will favorably emphasize and reveal the texture of these objects, giving them volume.
No matter how strange it may seem to you, it is quite easy to control and regulate natural sunlight from a window. This is easy to do by manipulating various reflectors and dampers made, for example, from cardboard, plywood or other materials that are at hand. A reflector, say, can be an ordinary sheet of A4 paper leaning against something on your object table. Yes, even a newspaper folded into a “hut” and placed next to it can work as a reflector! You can shade the light from the window using window curtains or blinds.
If you are working on your still life in the evening, and daylight is simply not available to you, you have to work with artificial light. An ordinary flash will work well as a source of such light. You just need to put a diffuser on it. If you do not do this and shoot without a diffuser, harsh, rough and unsightly shadows may form on the background. If you have a good source of constant artificial light at your disposal, then it is better to use it in conjunction with a softbox.
You can use a table lamp as an additional light source. A beam of light from it, for example, can be directed toward the background. But in this case it needs to be placed away from the background, at a distance of about one meter. Otherwise, the light spot on the background will be very sharp, rough and ugly. A table lamp can also be installed behind the composition of objects you have built and used as a source of backlight.
Here you go. The composition is built. The light is on. All is ready. Let's start filming. Still lifes are best shot on a tripod. Why? Because you may need to work hard to achieve certain goals. long exposures. And without a tripod, such shooting is simply impossible. The camera must be stable. An example here is the still lifes of the classic of Czechoslovak photography of the mid-last century, Vaclav Jiru, which he created in his studio or outside at night, exclusively by moonlight, without using any additional light sources. Well, if you don’t set such high goals for yourself, then when shooting handheld, try to hold the camera so that it doesn’t shake. Blurring and blurring in still life are excluded. This is such a genre in art - everything must be clear.
In the process of shooting a still life, we recommend rearranging objects from place to place, feel free to change the light, and move its sources in different directions. Shoot at different shutter speeds and different apertures. Change other settings on your camera. Shoot from different angles, from different shooting points. Shoot different lenses. Improvise on the go! Look for different options! It is in the process of shooting a still life that a certain excitement arises, a kind of courage. You will want to build more and more new options for still life composition, more and more new lighting schemes. Don't hinder your flight creative imagination! Perhaps today you will create your own best shot, who will later glorify you!
Yes, and one more note. Our last recommendation for today. If there is a lot of white in your still life, before you start photographing, we strongly recommend that you remember to set the white balance correctly in the camera settings. Otherwise, later, during post-processing of the image on a computer, you will have to tinker a lot with color correction in a graphics editor. In other words, in Photoshop.
Consider the application and combination different types compositions depending on the chosen image and design using examples.
The still life is called “The Story of a Lantern Forgotten on a Travel.”
When creating this still life, only a burning lantern was used from objects, which was brought to the shore of a snow-covered reservoir. Then the texture of an old book cover was added to Photoshop, emphasizing the flames.
The idea was very important when choosing the composition of a still life. There should have been a minimum of objects so that nothing distracted from the main object, and the point of view should have been chosen so that the landscape in the background with the receding perspective of the shore could be read. Texture overlay makes the photo more dramatic. The composition is diagonal, linear to emphasize the shape of objects and the line of the coast. The main accent of the composition is fire, located at the intersection of the golden ratio lines. The bulk of the composition is shifted to the left edge, as a result of which the eye from the fire continues to follow the shore line to the upper right corner, looking for a diagonally opposite balancing spot there. Such a spot could be a ship on the horizon, which is absent to increase the feeling of loneliness at work.
The still life is called “Symphony in red and gold tones.” The title and style of the work are inspired by the work of Whistler, an artist who dealt with the issues of color harmonies as key elements of artistic design. He often called his works "symphonies". The composition is built in an oval to emphasize the soft, rounded shapes of the objects; the oval shape is continued in the clock window. The contours of objects are softened, blurred, creating the effect of haze, glow, almost sleep. The objects themselves are selected as symbols of knowledge: a broken pomegranate is the structure of knowledge, books and a scroll are its results, and a clock (a symbol of time) is necessary condition. The work is based on the unity of tonal and color relationships (in dark tones).
"Story by old seaman" or "The story of the old sailor." The history of this still life is quite simple: objects were selected according to associations with southern countries, processing in the style old photograph, partially painted. But the still life itself is staged in such a way that its objects in their mass look like a portrait (the works of the Renaissance artist D. Arcimboldo are taken as a basis). Accordingly, the production contains a double association with long-distance travel: objects from “distant countries” and the narrator - “grandfather the traveler.”
"Expectation". The photo was taken at the Vintage Car Museum in Moscow. Balanced composition with tonal silhouette rhythm. The point of the work is that each subject has its own time. The composition is built in such a way as to create the feeling of a train station, where passengers (things) are waiting in front of a board (for hours) for their turn...
"Autumn". Still lifes on autumn theme Everywhere is very diverse, rich and beautiful. If we recall the picturesque still lifes of M. di Caravaggio, they embody all the fertility of “autumn”, the triumph of Bacchus. Therefore, the composition of this still life is based on the techniques used by the Italian artist. Objects are presented in a contoured, decorative manner, the composition is built according to the shape of a “triangle”. The applied texture also gives the work a classic look.
“Daisies” or “Country Still Life”. The composition is also built in a triangle, but the main emphasis is on lighting - light, warm, soft. The unity of tonal and color relationships (in light tones) provides the work with a feeling of serenity, unpretentious, simple beauty.
"Currant". A frieze linear composition is very well suited for emphasizing the beauty of the lines of currant clusters and the smoothness of their transitions. The rhythm of rounded shapes creates the feeling of scattered beads.
“It’s all gone.” Tonal, frieze, triangle-enclosed composition. Dried flowers, “withered” apples, a chipped dusty plate were taken as symbols of old age. The inclination lines of the flowers create the presence of “dialogue” between objects, conversation, mutual assistance and support. Accents are placed in yellow-green shades.
"Frosty Autumn" The beautiful cold blue-violet shade that is present in the objects creates an atmosphere of nobility, a feeling of light frost and frost. The original coloring of an apple resembles Frost patterns on glass.
"Everything is forgotten." Frieze contour linear composition. Dried flowers, “fading” apples, a chipped dusty plate are symbols of old age. Unlike the still life “Everything Is Gone,” there is no dialogue, which is why the title contains the word “forgotten.” Accents are placed in yellow and white shades.
"Berry tea" Dynamic diagonal composition, linear, built on the rhythm of red, black and white colors. The color combinations were chosen in association with berry-floral tea - warm, with a complex red-brown hue. A slight emphasis in processing is given to the retro style.
"Blackberry". Retro style. The noble dark crimson shades of blackberries and mallow flowers are emphasized by the contrast with the yellow color of the cup
.
"Symphony". Diagonal composition, linear. Flowers and leaves are arranged in an order similar to sheet music. Flowers in a vase symbolize different shades in music (forte, piano). The drapery in the background provides support for the foreground lines.
The work is based on the unity of tonal and color relationships. Linear composition in a similar range. The still life contains the idea of comparing two principles - 1. Fragility, tenderness, lightness, fleetingness, fragility (phlox), 2. Hardness, eternity, constancy, static (vase made of stone) and combining them: warmth, elegance, plasticity and the uniqueness of the contours of flowers and coloring lines of the stone.
"Sea shell". The composition is built in a circle shape. The flowers are symbols (allegories) of starfish, and the vase is shells. The added texture gives the work the effect of golden waves shimmering in the sun.
"Shepherdess". Here the same vase acts as a basket. The arrangement of objects (flowers, leaves and vase) is planar, decorative, contour. The work evokes associations with French painting Rococo times.
"Evening Shadows" In this still life, in constructing the composition, an important role was played not only by the objects themselves (asters and apples), but also by the shadows falling from them, which act (due to their clear, readable form) as independent subjects of photography.
“For her...” The tonal solution of the composition. The still life is made in the style of old postcards. Flowers (large white peonies) in a vase, strings of white pearls, rings and earrings with pearls - all indicate the “femininity” of the still life. Added haze and other textures give the work additional lightness and airiness.
"Natural life." Still life literally translates as “dead nature.” But over the past since the appearance of this genre in art, the situation has begun to change. A new name for this genre has appeared in photography - “Still life” - “quiet life”, more and more experiments. The idea of this work was “the birth of a new still life.” The kitten in the still life is the center of the composition - the main component of the still life. The linear-tone composition is built in a triangle. The light tone in the still life, the backlit hairs of the kitten’s fur, and its pose are symbols of birth. The fruits are also chosen to be small in size to maintain the atmosphere.
"Asters". A classic still life, the shape of the vase is emphasized by a dark background. The composition is diagonal, the predominance of two asters (lilac and white) in the bouquet on the right side creates a story about how 2 flowers looked out from the total mass to admire themselves in the mirror. And the mirror itself, in combination with a dark background, gives the work a touch of a theatrical setting.
Buecher. The classical composition, built on tonal relationships between objects, is built in a “triangle” figure, where its central axis also plays an important role (there are semantic points on it: the head of a girl at the window by Vermeer, a contrasting white sheet on a dark background of a book, a coin). Two parallel candles and the smoke coming from them give a dynamic composition.
Still life classic with the butterfly. A two-part composition, built on the combination of groups of objects and the conclusion of their compositional figures - the supporting group (in this still life - a triangle obtained by a group of leaves) is located inside the main one (an ellipse obtained by the general arrangement of objects). Composition “contour”, “linear”. The color support of the lower left and upper right corners (butterfly and drapery in the background) is also (along with the visual line from the spout of the jug) and dynamic output to the upper left corner.
Mamut. Classic “tonal composition, arranged in a “right triangle” figure. The still life objects form two groups balanced in relation to each other: group 1 - two jugs, group 2 - two elephants.
Ceramics. “Tone” composition, arranged in an oval. The dynamic outputs in it are visual lines from a maple leaf, two ears of corn and the handle of a board. Close color schemes not only unite objects, but also emphasize their individuality by enhancing the role of texture.
Still life classic. “Contour”, “linear” composition, built on the interaction of two groups of objects, combined into geometric shapes: 1 group - built on accents in yellow-green tones - the “semi-oval” - the main one, 2 group - “triangle”, built on close colors - additional. The composition contains dynamic exits in the upper left and upper right corners: flower leaves, basket handle, candle top, jug handle.
Teekane. “A tone composition based on the contrast of light and dark tones. The main compositional center is built on contrasting points, the additional one - on close ones. The rhythm in the composition is set by the stripes in the background, they are also balancing.
Tangerines. Setting 1. Diagonal composition with a group of objects additionally combined into a geometric figure “ellipse”. The composition is contour, built on similar color combinations.
Tangerines. Setting 2. Two-part composition (triangle and ellipse), contour, built on similar color combinations. Dynamic outputs: 1 - visual lines along the leaf and the neck of the jug to the upper left corner; 2 - visual lines along the tangerine skins on the lower left and right corners.
Author: Yulia Dorofeeva
Still life as a genre of art appeared back in the 15th century and then had a very clear religious overtones. Many images of saints were framed with floral arrangements. Already in the 17th century, still life was finally formed as a genre, at which time the basic rules of composition and classical techniques arose.
Since the advent of photography, still life has not lost its popularity, even though most of today's photographers are attracted by the opportunity to shoot in action. Masters strive to shoot something momentary and unexpected; static images are less attractive and interesting for many.
Some may mistakenly think that still life photography is not a difficult type of photography, because it may seem that photographing something that does not move or change over time is not so difficult. In fact, still life photographs are the result of long, monotonous work. A still life photographer must work with light and objects all the time. He periodically changes places of subjects, backgrounds and angles.
As great examples of still life photographs, we will show you pictures Paulette Tavormina – famous photographer from New York. Living in big city, Paulette found her own way to escape from the hustle and bustle. She spends hours in her own studio, shooting still lifes consisting of vegetables, fruits and flowers. Paulette Tavormina's photographs are reminiscent of classic images from classical painting. They are highly artistic and fascinating.
Paulette Tavormina also creates amazing compositions of flowers, plants and small insects on a plane. The images look more like illustrations from botany books or amazing plant patterns.
Paulette Tavormina's photographs are in museums, corporate and private collections, and have been presented in Paris, London, Moscow, New York, Los Angeles, Miami and Chicago. Paulette is a self-taught photographer; she developed her unique technique for shooting still lifes herself, learning from the paintings of Dutch masters.
Plant patterns 
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