Kitchen still life - jan groover
Jan Groover was an American photographer. She received numerous one-person shows, including at the Museum of Modern Art in New York, which holds some of her work in its permanent collection.
In the late 1970s she focused on the everyday implements of the kitchen, arranged in the sink: forks, spatulas, butter-knife blades and cake pans. She shot them in such a way as to gain perspective and to transform light into an object itself in the reflective surfaces. |
some of her work included:
Jan Groover creates captivating images by using the contrast of metal cutlery and the exception of only one colourful object. Rather like Andre Kertesz's work, she wants us to consider how basic everyday kitchen utensils can form such creative shapes and that we should acknowledge the things around us and open our eyes to objects one would not usually find interesting.
Our task was to place a number of items in the kitchen sink, considering:
When happy with the set up take a number of images of the still life created. Making sure to get close up and far away photographs of the items.
- Different shapes
- The colour of the objects
- How the items interact with each other
When happy with the set up take a number of images of the still life created. Making sure to get close up and far away photographs of the items.
MY response
My response to Jan Groover's work went well because I used a combination of the metal items and coloured items to show variety and difference just like Groover. I also carefully considered the criteria set which was to think about the different shapes, colours and how the items interact with each other.
However, if i were to do this task again, I would change the objects and experiment with more colour. I would also Experiment with black and white photos as Jan Groover did.
These were my rejected photos
I rejected these photos because they didn't show a good understanding of composition and the complexion of colours didn't stand out as well as my chosen images.
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aftermath - Laura Letinsky
Laura Letinsky developed her practice since the late 1990s through meticulously composed still life photographs influenced by 17th Century Renaissance painting. Using a large format camera in a controlled studio environment, her work resembles the aftermath of a meal, where stained tablecloths, spilled wine and squashed, misshapen fruit allude to mortality, frustrated desire and melancholy.
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examples of letinsky's work
Laura Letinsky creates quite serene and plain images by only photographing against plain light backgrounds and on light tablecloths. However what makes her photos interesting is how amongst the plain background she places fruit which add a burst of orange and red to the image. Because there's such a difference between the fruit and the wall, it tends to put all our focus on the fruit and helps us think about it and look at the neat mess which she has created.
Our Task was to photograph the aftermath of a meal. Ensuring that we arrange the objects and carefully consider the composition, taking inspiration from Laura Letinsky.
To achieve this, aim to:
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My response to Laura Letinsky's work went well because I used natural lighting, lower camera angles and depth using aperture.
However, if I were to do this again, I would photograph a table that had the image of being eaten at. In my opinion these photos do not reflect a good understanding and response to Laura Letinsky's aftermath meal. |
Andre kertesz
Fork - 1928
Kertesz has used light to illuminate the subject of the photograph (the fork) and also to cast intense, dramatic shadows below it onto the counter top and curved surface of the bowl. This creates contorted shadows which give the photo the abstract persona. He does this while keeping the identity of the subject in plain sight; it is clearly drawn attention to. The fork is presented as something beautiful as opposed to a simple kitchen utensil that otherwise would never be so focussed on in our everyday lives. |
The Task:
Our task was to respond to the work of Andre Kertesz by using an everyday kitchen utensil (such as the fork) and create an 20+ abstract photographs on a white background. Remembering to consider:
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I was able to create abstract shapes when altering the level of the torch which changed the shape of the shadow. This meant that, just like Andre Kertesz's work, I could draw attention to this simple everyday object. To improve my images, I could increase the level of light making the shadows bolder and darker. |
Burning House project - Robert Holden
Robert Holden carefully plays with light levels. The photo on the right uses natural light, while the photo on the left seems to use artificial light and use less of it to create a dark rustic atmosphere. Both photos show what different kind of people they are because of what objects they choose to save.
The aim of the 'burning house project'
was to photograph objects people would
save if their house was on fire.
Considering:
Clothes, prized possessions and/or
necessary everyday objects.
was to photograph objects people would
save if their house was on fire.
Considering:
Clothes, prized possessions and/or
necessary everyday objects.
My response to Robert Holden's work went well because I used a plain background to illuminate my chosen objects well. I also set my objects out in a way that created a rectangle or square and stayed within the image boarders.
However, I would make sure to use natural light to light the photo. This is because I used the artificial light and natural light and this made corners of the photo darker.
However, I would make sure to use natural light to light the photo. This is because I used the artificial light and natural light and this made corners of the photo darker.
luke stephenson - 7122 cornflakes in a box
Our task was to:
In my response to Luke Stephenson's work, I used sweetcorn instead of cornflakes. I maintained a dark background, the same level of light and the same camera angle throughout my photos.
However, if i were to do this differently, I would not choose sweetcorn. While taking the photos I realised that most of the pieces looked the same to me and the biggest difference between them were occasional size differ and ice that had collected on them in the freezer. |
edward weston
The choice of black and white is interesting as it doesn't take any colour away from the subject. Because the photos have been taking at such high definition, the viewers attention is drawn to the imperfect lines and ridges of the turned up mushroom and lettuce which adds to the entire composition of the photo.
The black backgrounds add a sense of weight to the images which exaggerates the contrast between black and white. The bright light causes intense shadows which highlights the details of the vegetables and creates imperfect perfection of the natural world.
The black backgrounds add a sense of weight to the images which exaggerates the contrast between black and white. The bright light causes intense shadows which highlights the details of the vegetables and creates imperfect perfection of the natural world.
My response:
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These are the unedited photos I took in response to Edward Weston's work. I used a chalkboard as my black background and I used a lettuce, pepper and a clump of mini mushrooms.
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This task was successful because I used a strong light source and a black background to create the dramatic effect Weston's images give off and cast intense shadows to show a range of shades from black to white.
If I were to do this task again I would a wider variety of vegetables and explore different angles to cast the light onto them.
This task helped me understand how to use a light source in a way that casts dramatic shadows to make the image eye-catching. I also became more familiar with photoshop and how to edit photos. This will benefit me when taking photos in the future.
If I were to do this task again I would a wider variety of vegetables and explore different angles to cast the light onto them.
This task helped me understand how to use a light source in a way that casts dramatic shadows to make the image eye-catching. I also became more familiar with photoshop and how to edit photos. This will benefit me when taking photos in the future.
david hockney - photojoiners
As the New York Times wrote in 2017 'David Hockney's aim was to extend and add to Picasso's cubist paintings.
Figure 1 shows one of Pablo Picasso's Cubist paintings and Figure 2 shows one of David Hockney's photo joiners.
Hockney’s works have strong links with Cubism, in that his motivation for producing them was to introduce three elements which a single photograph cannot have – namely layered time, space and narrative. This is similar to Picasso's work in the way that Picasso also has thought of space and narrative. As you can see in the picture that he has used different angles of the face in 3D and used them to compose a 2D painting.
Our task:
to respond to David Hockney's photo joiners by creating our own photo joiner of a chair, a room and a person doing a domestic chore.
to respond to David Hockney's photo joiners by creating our own photo joiner of a chair, a room and a person doing a domestic chore.
my response
To create these photos, I photographed the room and the chair from different view points. High, low, from the back, from the side etc. I did this to re-create David Hockney's photojoiners. In his work, he creates a 3 dimensional viewpoint for the viewer while on a 2 dimensional canvas. Rather like a panoramic photo, you are able to see more of the room in one picture than a single photo can show.
Lauren Marek
reflection of a person
Lauren Marek's work is inspired by Picasso's cubism paintings. She creates an abstract figure by putting a collection of close up photos of the body in a three by three grid. Her photos create a sense of security for people with insecurities because she shows us that body hair, acne and scars are what make us human.
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In response to Lauren Marek's work, I was able to consider the different angles and body parts in the same way Marek composed and produced her photos. I position my subject in front of a wide window to ensure that the subject was exposed to enough light to show intricate details such as eyelashes and spots. In doing this, Im understood that with the amount of light the camera was exposed to, I had to use a fast shutter speed to make sure the photos weren't over exposed.
Developement - Lauren Marek, jesse draxler and ed Ruscha
The reason I have decided to develop Lauren Marek's work, 'reflection of a person', is because I find it relates to many women out there and myself. From getting up in the morning to coming home in the afternoon, looking at myself in the mirror and thinking "I hate my body", is a common thought that occurs in most girls even from very young ages. Girls have been taught to live up to society's expectation of the perfect body and it creates a toxic image that we aspire to be and look like. Many of us go to extreme measures to become slim. However, they do this in the wrong way. Through this process comes depression, anxiety and many other attributes affecting mental health. Lauren Marek's work helps provide a safety net for many people who decide they don't like the way they look. By showing close up pictures of the body, individual hairs, scars and 'flaws' shows that having these things make us human. She shows us to live and be proud and that the scars and flaws show how strong and independent we are, proving that we can be comfortable in our bodies, boost confidence and self esteem.
I also decided to choose Ed Ruscha because I wanted to develop Andre Kertez's domestic shadows of kitchenware. Kertez creates shadows that show different shapes to the utensil he is photographing. I like this work because it allows the viewer to look into more depth at everyday domestic objects such as cutlery. Ed Ruscha links to Andre Kertez because both their work is shot in black and white and they focus on objects found in the household. In my development of this work I will expand the project further by focusing on both objects that are found in the house and the shadows they create, rather than only kitchen utensils.
I also decided to choose Ed Ruscha because I wanted to develop Andre Kertez's domestic shadows of kitchenware. Kertez creates shadows that show different shapes to the utensil he is photographing. I like this work because it allows the viewer to look into more depth at everyday domestic objects such as cutlery. Ed Ruscha links to Andre Kertez because both their work is shot in black and white and they focus on objects found in the household. In my development of this work I will expand the project further by focusing on both objects that are found in the house and the shadows they create, rather than only kitchen utensils.
jesse draxler
When asked where his abstraction comes from, Jesse Draxler replied with, 'The reality I choose to believe in is pretty abstract, everything is somewhat unclear. I have an abstract point of view.' This is what I want to present in my photos. To create such abstraction, that it can come naturally and without thought.
Ed ruscha
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To do this photoshoot, I placed white paper on the ground and wall in my garden. I did this to get a plain background and create a similar drop to Ed Ruscha's photoshoot. Only two of these photos have been edited and the rest have been left un-edited. Although I liked how these photos came out, I came across some problems as well. In a few of the photos, the line where the paper that is on the wall meets the paper on the ground and causes a dark line in the photo which doesn't allow for the photo to be one continuous white background. When doing this shoot again, I would try and find one bigger piece of paper to overcome the problem of the line.
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Steve purnell