Assignment 4 asks for 8 photos that show the use of lighting to individually show shape, form, texture and colour in a subject. I have spent several weeks building up to this assignment and have described that process in Developing Assignment 4. That post describes the thinking and the research behind these photographs.
All the photographs in this submission are taken with off-camera Nikon Speed Lights triggered by an infrared on-camera controller. The flashguns were always set on manual rather than TTL to enable me to control their power individually.
In this submission I have included two series of photographs. The first set are from my last two shoots which used a wooden base board, a green paste board backdrop and a small selection of vegetables. The second series are from four different shoots and selected on the basis of the lighting and set-up having created the ideal environment to display each of the attributes required by this assignment.
Having spent so much time researching and exploring still life I wanted to create one final picture that represented the end of the process as well as completing the assignment.
Fig. 01 is that picture. The colours and the set are influenced by David C. Halliday but rather than using the natural light that he prefers I have used two lights. Both are diffused using soft boxes, one is fixed high, quite near to the left of the camera at 1/2 power. The second is high to the right at 1/8 power.
I believe that this photograph is an appropriate ending point because, although it has no vanitas symbolism, I have tried to mimic the lighting and tones of a 17th century painting thereby bringing together all the research and test shots in a single image.
Series 1 – Same Subject, Different Lighting Set-ups
There are still two speed lights being used but neither are diffused so that the hardest possible light is hitting the subjects. The light on the left is low and back of 90 degrees to throw light across the face of the pepper and the top of the radishes. The right hand light is back of 90 degrees and angled to put light along the backboard as well as across the mushrooms.
Fig. 03 Form
I used three speed lights. The main light on the left is at 135 degrees on 1/2 power; the fill light from the right is at 135 degrees and 1/8 power and a third light is on the right at 90 degrees at 1/32 power.
Fig. 04 Shape
There is one speed light in a soft box at the centre of a translucent acrylic sheet placed behind the subject and a second speed light in a soft box on the left hand side behind the acrylic sheet to stop the backdrop falling off to grey. I have consciously li the subjects and post processed to avoid a full silhouette, which I see as being inappropriate for this subject, and have left just enough light to see the shape of the carrots.
Fig. 05 Colour
I have chosen this photograph from a slightly different set-up as my first colour submission instead of fig. 01. The lighting set up is a main soft box directly overhead at 1/2 power and a fill soft box at 90 degrees from high on the left on 1/16 power.
Series 2 – Different Subjects with a variety of Lighting Set-ups
Fig. 06 Colour
This image was lit by two speed lights, both diffused in soft boxes. The main light was directly overhead at 1/4 power and the fill light was at 45 degrees with a honey comb grid with a frosted gel and aimed at the grapes.
This picture brings together some modern vanitas motifs and contrasts the colours of frivolous fashion items with the colours of nature. The watch reminds us that time flies.
Fig. 07 Form
This image was lit by three lights. The main light is at 135 degrees left on 1/1 power, the second is from the same angle on the right at 1/2 power (this light is specifically there to create a highlight down the left hand side of the black head. A third light is at 90 degrees left with a honeycomb grid and aimed at the skull to give that form.
There are a number of vanitas motifs used here with fashion items between a mannequin head and a skull which is filled by an industrial sized roll of cotton. the cherries and lemons represent the sweet and sour of life and the flowers symbolise the fragility of beauty.
I could have easily chosen a photo to represent colour from this shoot as the black background seems to exaggerate the colour intensity but I had found it harder to light the White Vanitas set for colour so fig. 06 was more challenging technically.
Fig. 08 Texture
For fig. 08 there were only two lights used, although in retrospect a third light on low power from above and behind might have worked better for the top of the melon. The lights are left and right at 90 degrees and fairly low down to try and glance the light off the fruit skins. The one on the left has a honeycomb grid fitted to direct the light at the green melon skin whereas the one on the right is in a soft box with no diffuser.
Fig. 09 Shape
The final photograph uses skulls as a classic still life, much used by Irving Penn and David Bailey who were both influential in the way I approached this assignment. the lighting is very simply a full power flashgun in a diffused soft box behind a translucent acrylic sheet behind the skulls.
As explained in Developing Assignment 4, I found this assignment frustrating and enjoyable in equal measure. It is a very simple assignment and I felt that it would have been too easy to take all the photos using one or two objects that included shape, form, colour and texture and to complete the project in a day or less. This might have been the intention but I wanted to use the assignment to explore the history of photographic still life, the symbolism of the 17th century painters that has carried forward into photography and to look at how contemporary photographers are approaching still life. I also took a much closer look at Irving Penn. As I worked through this research I tried different sets and different approaches and this explains why the photographs above come from multiple shoots.
The most enjoyable aspect was, without doubt, the research and then setting up shoots to test out the ideas that flowed from that research. John Szarkowski, in his introduction to Still Life: Irving Penn *(1), remarks that still life is the only form of photography where the photographer is totally in control of every element, the subject, the lighting and the technical aspects of photography and for this reason it is an appealing genre and one that I am pleased to have been introduced to. It is technically challenging and on several occasions I yearned for a large studio steaming with natural light and not to be working on the kitchen table. A few of Irving Penn’s assistants to go out and collect subjects would not have gone amiss either.
Demonstration of Technical and Visual Skills
Technical skills are very relevant to this assignment and I have had to research and think about off-camera flash photography. Joe McNally’s two books The Moment it Clicks and The Hot Shoe Diaries were both immensely useful in this regard. I am satisfied that I make significant technical progress during this assignment, learning and implementing techniques of set-up, lighting and exposure.
However, there are still plenty of technical flaws to address at the next opportunity to work in a “studio” environment. I tend to under light the subjects and have not perfected the way to bring enough light to white backgrounds to stop the loss of exposure and the decline to grey. I understand for portrait that a light hidden behind the subject is a way of addressing this but that would not work for still life so there is still work to do here.
Quality of Outcome
I am reasonably satisfied with the outcome. I have printed each of these photographs and, whilst I can see areas where they could be improved, I am pleased with the results of a first attempt at still life.
It took great creative energy to design the sets, which, with the complex sets, is harder than either the photography or the lighting and I feel that many of them were creative and brought together both traditional and historic ideas.
There was a lot of experimentation with different types of subjects, sets and lighting approaches and maybe a few hints of inventiveness.
This assignment does not feel as if it builds upon assignments 2 and 3 so it is difficult to comment on how it progresses the development of a voice.
I took my research very directly into the sets and tried, at different times, to use the complexity and strong colours of artists such as Paulette Tavormina and Mat Collishaw, the simplicity of Irving Penn and David Bailey, the soft natural tones of David Halliday and Krista van der Niet and in parallel to the assignment tried out Simon Norfolk’s ideas in My Dad’s Stuff.
I believe that I have linked my work to both contemporary and historic photographers.
(1) Penn, Irving. (2001) Still Life. Boston: Bullfinch Press
(2) McNally, Joe. (2008) The Moment it Clicks: Photography Secrets From One of the World’s Top Shooters. Berkeley: New Riders
(3) McNally, Joe. (2009) The Hot Shoe Diaries: Big Light From Small Flashes. Berkeley: New Riders