Summary of Research of Still Life and Landscape.

After gaining a basic knowledge of the still life genre and it’s particular styles and themes, it was interesting to be able to see this reflected in artist’s work. Not only with this, but by learning more about the genre and the style of different artists, I was able to summarise and consider how I would use this information to influence my project.

  • There are many possibilities with still life, so be sure to be experimental and confident with light.
  • Representation is a key element in the still life genre for how the viewer will interpret the image and what message they will draw from it.
  • Pre-visualisations may be particularly useful in helping me envisage what could work and how I can experiment, as well as if I choose to work collaboratively to be able to put ideas together and communicate together to portray a particular idea.
  • Most often, plain backgrounds are used to enhance the subject and reduce disraction away from it. This is easily achievable when working in the studio but not so much when working outside therefore I will have to consider my composition and how it will affect this. I may be able to achieve a similar effect by using a wide aperture and blurring the background detail.
  • Otherwise, tight crops could be used and they also emphasise texture and shape.
  • Particular angles like birds eye views enhance the shape of an object. This may be worth considering when I am shooting close ups and a particular shape may be more eye – catching caught at an alternative angle, to experiment more with creative perspectives.
  • The reminder of death runs throughout the still genre theme and with regards to my project, this may be represented through things decaying or changing like leaves in Autumn, which could represent feelings of dread by SAD sufferers, something which Bryony pointed out to me.
  • Separating or creating distance between objects has an affect on how they are represented and acknowledged as individual items. (Laura Letinksy).
  • If i were to make a collaborative project, montages might work well to connect the person I work with to a landscape and how they wish to reflect their emotions of SAD, allowing them to create their own representation and challenge the stigma. (Helen Sear, Merve Ozaslan and Veronique Rolland).
  • Colour can have a huge influence on how something is represented, especially as colour can be quite emotive and meaningful. I will need to bear this in mind when composing my shots and how it will influence the viewers interpretation. It may be worth also enhancing colour to highlight certain areas to draw attention. (Rinko Kawauchi).
  • Consider elements the viewer will be able to recognise and relate to, to draw on the emotions being represented. (Faces – Francois & Jean Robert).
  • Messages can be interpreted differently by different people, and although I want my images to be open to this, I also want to be able to guide the viewer to appreciate the message it is sharing through representation.

~ by victoriasimkissphotography on February 16, 2015.

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