Nature Morte and Vanitas influenced Photographers

During our seminar with Jill speaking about Nature Morte and Vanitas, we were also shown still life photographers who had influences of Nature Morte and Vanitas in their work. Each photographer's work still includes the stillness that is shown in still life paintings, and consists of objects that represent and have an important meaning. The work of the following photographers have clearly been influenced by past paintings and still have elements that were important in past art work, when still life was very symbolic to everyday life. Modern photographers have made their still life work more influential to todays society and what is relevant to their own lives and others around them.

Marian Drew
Marian is one of Australia's most powerful and significant contemporary and still life artists of today. Her Still Life project "Australiana" from 2003 to 2009 presents images of dead Australian bush animals, that she had found already dead, placed next to objects that are somehow linked together. Her images from this series were all really interesting to look at because of the animals and how Marian had placed them. It is clear to see how these photographs are influenced by past vanities and nature morte painting because of the style and the way everything is placed. The different element Drew has used that is not the same as other still life vanitas styled photography and paintings, is that she has a background in some of the images from this series that is not white or black, it appears to be another photograph or an actual environment that she has used behind the objects she is photographing. I think this works with these images because of the narrative behind it being about her home country of Australia and the use of animals that are from there.

Lorenzo Vitturi

Lorenzo Vitturi's series of work "Dalston Anatomy" presents a book full of colourful images of people and surroundings of east London's Ridley Road market. He focused on this because it was local and special to him, but also starting to change due to gentrification. It was important to Lorenzo to capture this area before it transformed completely. The photographs from this series are seriously different to anything I personally have seen before. They are so individual in the use of colour and use of objects and people, it really does represent this area of London he is photographing. The still lifes that are included in this series are a mixture of fruit, vegetables and objects from the market and all placed and sculpted in a way that is connected to what Lorenzo is representing. In an interview with magazine Of the Afternoon, Vitturi explains that he arranges these sculptures because he ttys to find anatomical similarities between the objects and the people that he photographs because they show how everything about this market is connected and because the sculptures only last a couple of hours representing how these markets and people he come's across only last for a certain time too.

Nature Morte and Vanitas

My new mini-assignment for this module is related Still Life in Nature Morte and Vanitas. At first hearing of this subject I was clueless, but after a seminar and insight into what it is and would involve, it became a lot more clear. Vanitas and Nature Morte were used in historical still life paintings of a group of objects that all generally represent something. In the past the objects were commonly flowers, food, books, instruments, insects or dead animals, which are all connected to life in some way. The french term for still life is nature morte meaning dead nature, after learning this it shows what the painting's mean a bit more clear to see. In almost all the paintings we were shown in the seminar, the light source always comes from an area on the left, sometimes lighting up the main object then slowly becomes darker to the other not so meaningful objects, it is important to notice this because it plays with flatness and almost give a 3D illusion in a number of paintings. In all of the paintings we looked at all had diagonals and vertical lines that lead to the main objects, where ever the came from in an area of the painting, highlighting what the viewer should be looking at the most. Another fact of the painting's that occurred in every single piece, was that they all contained objects that represented wealth and power, along with the colours in the paintings were used such as bright red, purples and greens all relating back to wealth also.

Taken from http://www.nationalgallery.org.uk/paintings/jan-jansz.-treck-vanitas-still-life and shown in seminar.

This painting was by Treck in 1648, and is called "Vanitas Still Life". It contains objects that Treck used wanting to cause the viewer to reflect on mortality and human ambition. It is clear the see the diagonals in this painting, the white stick is pointing to the knights armour which then lead to the flute that is pointing to the skull, that makes it clear to see that the painting is Vanitas because it includes a skull. 

Taken from http://www.nationalgallery.org.uk/paintings/harmen-steenwyck-still-life-an-allegory-of-the-vanities-of-human-life 

A painting that I came across on the National Gallery website by Harmen Steenwyck in 1640, titled 

Still Life: An Allegory of the Vanities of Human Life. The painting includes objects that symbolise wealth such as the Japanese sword and shell. The book and instrument which looks to be a flute representing knowledge. The skull dominated the painting, guiding the viewer to look at it first, shows how it overall represents death in the whole painting. 

Reflection

On Friday (06.03.15) e had our group crit, showing what work we have done during this mini assignment. We were required to produce at least three images and present them on our blogs (see previous post) and print one of them A3 or 12x16 for the crit. We all put our print on the metal wall in the studio to view in to depth and then Jill gave us a sheet with different questions on a someone else's work in the class, such as the context behind it and the technical side to shooting the image ect. I find it useful and important that we do these critiques on our work because it gives feedback on how we are doing and if it is working. In this crit I enjoyed how we had to focus ourselves on one individuals work rather than looking at everyone's because it meant that we could receive a much more in depth feedback and consider other elements that maybe would not have been included. My idea was to photograph the inside objects of purses and wallets. I placed them on a brown surface and shot them in a bird eye view angle, so it was clear to see the objects I had chosen to use out the purses and were all visible in the same aspect. I think my idea was successful at portraying documentary still life and had context, which was that people often carry objects in their purses or wallets that can have sentimental value to them, such as photographs or rings. If I was to improve I would definitely add a title to the three images, rather than a piece of text as I think it is clear to see what the images mean. Overall I have enjoyed this mini assignment the most out of all the other genre's we have explored whilst researching and shooting still life. I think it is because I have grown an interest in documentary photography but also as I have gained knowledge into what documentary still life photography is. I would definitely like to carry on shooting this genre and continue with my idea from this mini assignment.

Documentary Shoot

For my first shoot for documentary still life images, my idea was emptying contents of purses and wallets on to a plain background and arranging them to what fit and looked best. I thought that this was a good idea because people don't only just keep their money and cards in there wallets, sometimes personal objects and photographs are also often held in their. I think this can show the personality of an individual through what types of items they have, what loyalty cards and receipts are in there. Below are the 3 images from this idea that are required for this mini assignment, part . I think I have been successful in presenting my idea and have arranged the objects in a way so that you can see what they are and what the context is. From an audiences point of view, I think it is easy to see what my aim and intention to show that in the images are supposed to be an insight of the personality of the individual's purse/wallet belongs to. I think that I have also succeeded in producing still life photography in a documentary style, the objects are all placed individually and are on a plain background, drawing the viewers attention to the objects and its meaning. I originally shot the images in colour, but once edited I found that I preferred them black & white.

Documentary Still Life Photographers

During a seminar with Jill that introduced us to documentary in still life photography, we were shown  different photographers who are considered to be in this genre. We looked at a number of photographer but the following three are the ones that stood out to me the most. Looking at photographers helped me realise what to look for and what I could photograph in this mini assignment and understand it more. 

Raphael Dallaporter. 

French Photographer, Raphael photographed land mines in a project called "Antipersonnel" taken in 2004, that were found from all over the world from different wars and conflicts. They were captured simply on a black background which looks to be studio light. The objects used do not seem to personal in anyway, but when thought about it the way the have effected people over the years since their invention, they have killed millions of people. Also the fact they are made to destroy areas of land that involves killing people gives it context alone. After reading about the project on his website and looking at the images in more detail, it became clear to me how different land mines can be in their appearence and in this case Dallaporter has made them look strangely intriguing and beautiful. At first glance I had no idea what the objects were but after being told it made send. I think Dallaporter has succeeded in this project in how the context and meaning of his series speaks out and is clear to see with an explanation. He also achieves this in how simple he has shot the land mines, making them simple and all about the object themselves, not focusing it on anything else. 

screenshot of the project from Raphael Dallaporters website.

Stephen Gill.

Stephen Gill's work, similar to Raphael Dallaporters in the fact on each photograph focuses on one object and features the same type of objects throughout the series. Gill's project "A series of disappointments features each black and white image of a betting slip, folded or scrunched up in the way of the person it belongs too made it to be that way. I really enjoyed looking at this piece of work in the seminar and found it to be my favourite of all the photographers we looked at because of its simplicity, but context behind it. The photographs are all folded in different ways and all feature different inscriptions of whatever bet was placed by the individual, which to me indicates an indication of the persons personality. Below are three of the images from the series.

Narelle Autio

Narelle Autio's work also stood out to me as being similar to the two above, as it is also one object in each image on a plain white background, presenting a simple appearance. "The Summer of Us" series captured in 2000, won Autio a number of prizes and exhibitions. The full set of images are object's that she found on the Australian coastline, supposing to represent Australian life by the sea. A lot of people who lived similar to her when this was captured, could relate to the series and it is easy to see why. With every day objects that people come across in their homes and on the beach. I am not as fond of this set that what I have seen from the other photographs from above, because I feel it is quite amateur and something I have seen before, however I do think it represents documentary still life very well and it's context seem's important to Narelle and those who have viewed it. 

Documentary Still Life

For our third mini assignment for this module, I was set out to complete a series of images that represented and portrayed documentary style photography in still life. At a first thought, this seemed like quite the challenge as I could not think of anything off the top of my head that strikes me as documentary still life, or any photographers of this genre. However after a seminar within Jill, it became clear was was required of this and a few ideas were coming to my mind. During the seminar we looked at different still life photographers that showed this, such as Raphael Dallaporter who photographed Land mines on a simple black background, and Stephen Gill who collected betting slips and photographed them in the way he found them. All of the photographers Jill showed us seemed to have a personal element to them, in how they are related or have effected people who are associated with the objects that have been photographed or how that have been used. For our own mini project the context within the image is very important. Whether it speaks out to the audience just by looking at the images or if it comes with text or a title, it makes it way more interesting if the meaning is shown. Also we are to use only daylight when capturing my documentary still life images, which personally I prefer that using studio light and I feel it will make it look more real and connected to what the photo's will be about.

Product Shoot

For my product shoot I decided to use a watch and its box. Not the best product to use I must admit but for quickness and easiness I decided to use something that I own for connivence. To capture a product shot, it must be taken in the studio using a digital camera, studio lights and a software such as capture one. The studio is not one of my strong points so it was quite the challenge. I set the products up in a way that I feel was appropriate to show the product and was clear for the viewer to know what it is. I used a table for underneath the products so that they were on a good level to photograph on. If I was to do this shoot again I would definitely put more time in to it as it was very rushed and I would of used different products to photograph so I could of has more of a range and options to choose from for my final print, as this was my only product shoot. However I had never produced any product shots before this, and have learnt a lot about the industry and product campaigns from seminars and research.