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Edenvale Photo Club Newsletter -SEPTEMBER 2021
Sharing Visual Art since 1950 CERPS WINNERS 2018 AND 2019
02 / SEPTEMBER 2021 COVER IMAGE BY TED KINDSMAN
I used a Canon 7D with a Sigma 150 to 600mm lens. Thecamera settings were f8 and 1/2500 with a focal length of 600mm. To achieve the high shutter speed I used ISO800. Very lucky to get good light.
The photo was taken at Giants Castle Resort on the 5th September 2021 at 10h49. The hide is about 15 minute drive from the Resort over a 4x4 track. The hide is situated on the edge of an escarpment overlooking a vast valley. To attract the vultures we used bones some with meat placed along the edge of the escarpment about 70 to 80m from the hide. The hide has openings for 3 photographers facing along the ridge. The vultures are lazy flyers and only came once there were thermals in the area. But when they arrived there were many coming from the left and some landing at the site of the bones. We were very lucky to have a windy day and the direction of the wind perfect to capture the vultures as they descended from high above.
CONTRIBUTE TO FUTURE ISSUES ANY MEMBER CAN SUBMIT MATERIAL FOR CONSIDERATION IN FUTURE PUBLICATIONS PLEASE MAKE SURE THAT IMAGES HAVE A MINIMUM RESOLUTION OF 1080 x 1925 pixels. Of course, we also have to adhere to the regulations for data protection and the rights of use according to the copyright law, therefore, we ask you to supply a declaration of consent of the person or website that you extracted your submission from. Please use the following email address to send contributions and consent letters hanlis54@gmail.com Proof reading of this magazine Kindly done by Heidi Broschk
EDENVALE PHOTOGRAPHIC CLUB IS A PROUD MEMBER OF THE PHOTOGRAPHIC SOCIETY OF SOUTH AFRICA
03 / SEPTEMBER 2021
DEAR MEMBERS I have been thinking on this chat from the previous newsletter. I would like to expand a bit more on that blurb, which went around the social aspect of photography and how beneficial it is to shoot with company, especially another photographer. To take your photography to the next level you need to get out and shoot. This can be your backyard, a trip to the local park or zoo, perhaps a game reserve or even an overseas holiday. While the backyard may seem “boring” and limited, it is the essential trial one should undergo, especially when starting out. I know experienced photographers who challenge themselves in their own yard. Take a hula-hoop and throw it at some random location in your garden. Now challenge yourself to create 15 different photographs from within that hoop. It was said to me that there is a fine line between desperation and inspiration. The consensus is that it is easy to get to 10 images. The 5 extra to get to 15 are really hard, but if you can get to 15, then 20 or 30 are easy as the inspiration and creativity will flow. It is unlikely that these will be club winning images but use the process you have been through and apply that to your photography in other genres. The camera settings you used, the point of view, the way you played with the light and the way you looked at things all play a part in improving your mastery of the craft. Explore, look, experiment and learn. It all comes together in the end and you will be creating master images and not just snapshots of what you see. See your photography as an art, which it is, and not just a copy of what you saw. Look deeper, use the light, angle and processing to create more than what is before you. Creativity leads to enjoyment and enjoyment leads to growth and success. You do need to invest in your photography. The most investment is in time, but it is time well spent. There will also be some cost but keep that to a level you are comfortable with. It does not need to be the driver behind creating good photography. I have a thought that the hoop challenge should be a club outing. Let me think about it. In the meantime, shoot on and grow. Chairman: David Wolstencroft 083 229 8066 davewol@gmail.com
Dave
04 / SEPTEMBER 2021
Committee Members
BI-MONTHLY MEETINGS ARE CURRENTLY CONDUCTED VIA ZOOM DUE TO COVID REGULATIONS Chairman:
Treasurer:
Scoring & Promotions:
Ted Kinsman 083 461 2350 tkinsman@global.co.za
David Wolstencroft 083 229 8066 davewol@gmail.com
Marketing and Secretary: Natasha Bird 082 920 8898 mnktrad@mweb.co.za
Newsletter Editor & Graphic Design: Hanli Smit 083 253 1034 hanlis54@gmail.com
Certificates & Awards Des Alexander 083 226 1452 neoncomp@webmail. co.za
New Members, Social Media & Website Clare Appleyard 083 234 0247 clare.appleyard@gmail.com
MEETING TIME AND PLACE 2ND AND 4TH WEDNESDAY OF THE MONTH AT 18H30 FOR 19H00 EDENVALE COMMUNITY CENTRE CNR. VAN RIEBEECK & 2ND STREET, EDENVALE
Salons, Judges and Outings: Heidi Broschk 079 886 8515 heidib@uj.ac.za
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IN THIS ISSUE Page 6 Page 16 Page 27/28 Page 28
PAST MASTER OF PHOTOGRAPHY - PETE TURNER
16 SEPTEMBER CLUB NIGHT WINNERS
SET SUBJECT WINNERS
29 SEPTEMBER CLUB NIGHT WINNERS
Page 40
ANNUAL COMPETITION WINNERS 2020
Page 46
RULES FOR THE ANNUAL COMPETITION
Page50
STILL LIFE PHOTOGRAPHY GUIDE
06 / SEPTEMBER 2021
Source: Wikipedia
PAST MASTERS OF PHOTOGRAPHY
PETE TURNER Critic A. D. Coleman described the work of Turner as having “A dramatist’s sense of event, intense and saturated coloration, and a distinct if indescribable otherness are omnipresent in Turner’s images”. He graduated from the Rochester Institute of Technology in 1956, along with classmates, Bruce Davidson and Jerry Uelsmann. Photo District News voted him as one of the 20 most influential photographers of all time and in 1981 the American Society of Media Photographers (ASMP) awarded him its Outstanding Achievement in Photography honor. His photographs are in the permanent collections of many major museums, including the Paris Foreign Missions Society (MEP), the Tokyo Metropolitan Museum of Photography and International Center of Photography (ICP) in New York. The George Eastman House in Rochester is the depository of Turner’s life’s work and where his retrospective exhibit, “Pete Turner: Empowered by Color”, opened in 2007. Turner died September 18, 2017, at his home on Long Island, New York
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16 / SEPTEMBER 2021
ONE STAR CELLPHONE WINNER 8 SEPT 2021
NoCattle catchEgret today
PeterMorris Fine David
17 / SEPTEMBER 2021
TWO STAR PICTORIAL WINNER 8 SEPT 2021
The joyful joist
David Morris
18 / SEPTEMBER 2021
TWO STAR NATURE WINNER 8 SEPT 2021
Looking for Mom
Gavin
Duffy
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TWO STAR PICTORIAL WINNER 8 SEPT 2021
Just a log and a beach Linda Carter
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THREE STAR NATURE WINNER 8 SEPT 2021
Black headed heron Landing Brian Kleinwort
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THREE STAR PICTORIAL WINNER 8 SEPT 2021
Taking Flight
Andrew Mayes
22 / SEPTEMBER 2021
THREE STAR CELLPHONE WINNER 8 SEPT 2021
Protea delight
Caryn Wilson
23 / SEPTEMBER 2021
FOUR STAR NATURE WINNER
8 SEPT 2021
Eye of the Tiger
Stephen
Kangisser
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FOUR STAR PICTORIAL WINNER
8 SEPT 2021
Flowers in the Milk Can
Stephen
Kangisser
25 / SEPTEMBER 2021
5* & 5 Star Honours NATURE WINNER 8 SEPT 2021
Cape Vulture Approach Ted Kinsman
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5* & 5 Star Honours PICTORIAL WINNER 8 SEPT 2021
Viking Queen
Hanli Smit
27 / SEPTEMBER 2021
SET SUBJECT WINNER 8 SEPT 2021
Green
Vadivelu TT
28 / SEPTEMBER 2021
SET SUBJECT WINNER 22 September 2021
Pure Joy Riding the Train
Gary Andrew Peck
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ONE STAR NATURE WINNER 22 SEPTEMBER 2021
Low Flying
Brian Shaw
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TWO STAR NATURE WINNER 22 SEPTEMBER 2021
Wait for me Mom
Gavin
Duffy
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TWO STAR PICTORIAL WINNER 22 SEPTEMBER 2021
Which way Mom is the safest Fabiola Geeven
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THREE STAR CELLPHONE WINNER 22 SEPTEMBER 2021
Wilting king protea
Caryn Wilson
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THREE STAR NATURE WINNER 22 SEPTEMBER 2021
Swallow on a branch
Andrew Mayes
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THREE STAR PICTORIAL WINNER 22 SEPTEMBER 2021
Lake Minimalist
Andrew Mayes
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FOUR STAR NATURE WINNER 22 SEPTEMBER 2021
Stretching my wings
Brian Kleinwort
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FOUR STAR PICTORIAL WINNER 22 SEPTEMBER 2021
Stephen
Jade
Kangisser
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FIVE STAR CELLPHONE WINNER 22 SEPTEMBER 2021
Portrait of Coco
Ruth Anne Smit
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5* & 5 Star Honours NATURE WINNER 22 SEPTEMBER 2021
Landing should be perfect Adrian Style
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5* & 5 Star Honours PICTORIAL WINNER 22 SEPTEMBER 2021
Swirling clouds
Clare Appleyard
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2020
ANNUAL COMPETITION
WINNERS 1 & 2 Star WINNERS 2020
Fabiola Geeven Winner of Altered Reality and Animal Portrait categories Fabiola Geeven
Fabiola Geeven
41 / SEPTEMBER 2021 1 & 2 Star WINNERS 2020 Linda Carter Winner of Altered Nature Nature Mono & Tabletop categories
Linda Carter
Linda Carter Linda Carter
Linda Carter
1 & 2 Star WINNERS 2020
Tony Wilson
Tony Wilson Winner of Open Colour, Portrait, PJ / Sport & Scapes
42/ SEPTEMBER 2021 Tony Wilson
Tony Wilson 2 & 3 Star Winner of Open Colour,Portrait,PJ / SporT & Scapes
Tony Wilson
& 4 Star WINNERS 2020 Stephen Kangisser
Stephen Kangisser
Stephen Kangisser
Stephen Kangisser
3 & 4 Star Stephen Kangisser Winner of Altered Nature, Altered Reality, Animal Portrait, Portrait, Nature and Open Colour
Stephen Kangisser
Stephen Kangisser
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Kenneth Kubheka
Kenneth Kubheka Winner of Mono Category
Caryn Wilson
3 & 4 Star WINNERS 2020
Clare Appleyard
Clare Appleyard Winner of Scapes and PJ/Sport Categories
Clare Appleyard
Caryn Wilson Winner of the Table Top Category
44 / SEPTEMBER 2021 5 & 6
Star WINNERS
2020
Natasha Bird Winner of Altered Nature, Animal Portrait, Open Colour Natasha Bird
and Pj/Sport categories
Natasha Bird
Natasha Bird
Natasha Bird
45 / SEPTEMBER 2021 David Wolstencroft
5 & 6
Star WINNERS 2020
David Wolstencroft Winner of Monochrome Hanli Smit Winner of Altered Reality & Portrait Catagory Ruth Smit Winner of Still Life / Tabletop Category
Hanli Smit
Gary Andrew Peck Winner of Nature & Scapes categories
Hanli Smit
Ruth Smit
Gary Andrew Peck
Gary Andrew Peck
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ANNUAL COMPETITION 2021 This competition is held once during the club year. (Usually at the end of the club year, September). It will be an open competition in digital, In the categories listed below: Only images which have been presented at a club evening since October last year are eligible for the Annual Competition. The images may not be changed from the ones originally entered. It must be added directly from your PhotoVault library, so no new uploads are required. This includes Set Subject images. An image cannot be entered in more than one category. All images entered must be the author’s own work, from pressing the shutter, to final processing and editing. Any composite entries must comprise only of elements belonging to the photo author and may not include purchased or downloaded elements. Any images not meeting these criteria will be disqualified. The deadline for submissions is midnight,
Saturday 9th October 2021 PhotoVault will close on this day at 23h59 and no further entries can be considered.
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You can enter as the star rating you were on at 1 April 2021, or higher, but not both. Please pay attention to each category definition to avoid any of your images being disqualified. Categories Nature: Colour images only. Restricted to depict observations from all branches of natural history, except anthropology and archaeology, in such a fashion that a well informed person will be able to identify the subject material and to certify to its honest presentation. Human elements shall not be present, except on the rare occasion where those human elements enhance the nature story. The presence of scientific bands on wild animals is acceptable. Photographs of artificially produced hybrid plants or animals, domestic and farm animals, mounted specimens or obviously set arrangements are ineligible as is any form of manipulation that alters the truth of the photographic statement. Manipulation includes, but is not limited to, adding or removing any element by means other than cropping. Compositing, multiple exposures, sandwich/montage and double exposures are not permitted except for digital techniques such as HDR, focus stacking and stitching where the end result is a faithful representation of the original scene.
Altered Nature: Images may be colour or monochrome. As above, except that compositing, multiple exposures and double exposures are allowed - provided that the image remains realistic.
Scapes: Colour and mono images allowed. Any scape whether nature or pictorial may be entered in this category and the subject matter is not limited so may include city, sea, sky or landscapes. Manipulation is allowed but should be such as to enhance the scene and not change it. Manipulations which drastically alter the reality should be entered under pictorial.
Human Portrait: Images may be colour or monochrome. A likeness, personality and mood of a person, where that person is dominant in the image. Portraiture is not restricted to head and shoulders and may include just a part of the face, a back view or even a full length study. Animal Portraits: Images may be colour or monochrome. A likeness, personality and mood of an animal, where that animal is dominant in the image. Portraiture is not restricted to head and shoulders and may include just a part of the face, a back view or even a full length study.
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Still Life: Colour and mono images allowed. An image depicting mostly inanimate subject matter, includes table top and floral arrangements.
Altered Reality: Images may be colour or monochrome. A creative, experimental, imaginative and/or a departure from realistic representation. An image created by altering reality in an obvious manner. It can be created digitally or in camera. The intention is the creation of a new image that conveys a feeling or message or tells a story. PLEASE NOTE No purchased backgrounds or textures may be used all the vectors and element must be the photographer’s own work.
Photojournalism: Images may be colour or monochrome. Newsworthy/story-telling pictures, includes sports. Photojournalism is distinguished from other close branches of photography by the qualities of: Timeliness—the images have meaning in the context of a recently published record of events. Objectivity—the situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative—the images combine with other news elements to make facts relatable to the viewer or reader on a cultural level. Manipulation is not allowed.
Open Colour: Colour photographs ONLY. All photographs not covered by the above sections. Images which should be in any of the other categories must not be entered in this category. Any image entered in this category which should be in any of the other categories will be disqualified. Manipulation is permitted.
Open Mono: Mono photographs ONLY. All photographs not covered by the above sections. Images which should be in any of the other categories must not be entered in this category. Any image entered in this category which should be in any of the other categories will be disqualified. Manipulation is permitted. The maximum number of entries will be 1 in each category, ie. each person may enter 10 digital images.
There are three categories: 1 + 2 star workers 3 + 4 star workers 5 and 6 star workers Certificates of Merit may be presented in any or all of the sections or categories listed above at the discretion of the judges. Awards or certificates of merit gained in this competition will not count towards the Log competition. Any image which is entered in the incorrect category will be disqualified as well as images entered that were not presented at club meetings during the period October 2019 to September 30th 2020
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All images must be entered via PhotoVault in the correct competition that matches your star rating. PhotoVault will take care of the naming standard for you. All you need to supply is the image title, but remember, it must be an image that was submitted for a club evening or set subject during the current calendar year. The image Title may not be changed. Images used for Set Subject entries are permissible but NOT those that were entered into the CREATIVE CATEGORY if there was any collaboration with other photographers or any textures or backgrounds purchased or taken from the internet.
The category abbreviations are as follows:
na
•
Nature
•
Altered Nature
•
Scapes
•
Human Portrait
po
•
Animal Portrait
ap
•
Still life
•
Altered Reality
•
Photojournalism
•
Open Colour
op
•
Open Mono
mo
tn
sc
sl ar pj
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Compiled by Heidi Broschk
Online Portfolio Website>Still Life Photography
Still Life Photography: The Complete Guide What Is Still Life Photography? Still life photography is a form of professional photography that depicts inanimate objects or subject matters.
Still life is a unique genre of photography. One thing that makes it so special is that often the subjects aren’t very interesting. They’re just ordinary objects that you normally wouldn’t pay much attention to. That means that to be successful at still life photography, you need to find ways to make your photos interesting. That also means it’s a great style of photography for learning new skills. By experimenting with different arrangements, lighting, and compositions, still life photographers can breathe life into their subjects. If you’re interested in trying it yourself, you’ve come to the right place. This guide to still life photography will tell you everything you need to know to get started.
51 / SEPTEMBER 2021 Table of Contents 1.What Is Still Life Photography? 2.Hone Your Photography Skills with Still Life 3.Different Types of Still Life Photography 4.Still Life Photography Equipment 5.Still Life Photography Lighting 6.Lenses for Still Life Photography 7.Cameras for Still Life Photography 8.Still Life Photography Tips 9.Still Life Photography Ideas 10.Get Some Objects Together and Get Started
What Is Still Life Photography?
You’re probably familiar with still life in art—those paintings that depict a bowl of fruit or flowers in a vase. Those are classic examples of a still life. But even when you’re familiar with the concept, you might not know exactly what makes a still life a still life. In a nutshell, a still life is a work of art that focuses on inanimate subjects. Usually, the subjects are commonplace objects. That can include both manmade objects (such as vases, items of clothing, and consumer products) and natural objects (like plants, food, rocks, and shells). The major advantage offered by still life is the freedom to arrange the objects any way you want. Still life photography follows the same philosophy. A lot of emphasis is put on the arrangement of the items, the lighting, and the framing.That makes it a great genre to experiment with and it can help you become a better photographer
Hone Your Photography Skills with Still Life Still life photography makes it easy to experiment. In contrast to portrait and landscape photography, you don’t have to deal with live models, and you don’t have to search out an interesting location or photo opportunity. Instead, you can create your own interesting composition using common objects you have or find nearby. By giving you complete control over every aspect of the scene, still life lets you try out different compositions and lighting setups to see what works and what doesn’t. So once you understand how to create great still life photography, you’ll be well equipped to create better photo compositions in any situation. Still life is also a great way to show off your skills and artistic flair, making still life shots a great addition to any photographer’s online portfolio. By taking commonplace objects and turning them into interesting works of art, still life photography is the perfect way to show potential clients what you are capable of.
Different Types of Still Life Photography Still life photography encompasses a variety of subcategories. Here are just a few of them: Tabletop Photography Tabletop photography is the most common type of still life. It’s what most people think of when they hear about still life photography. This category is all about shooting objects that are small enough to fit on a table. The objects can be anything the photographer desires, as long as they’re inanimate.
52/ SEPTEMBER 2021 Product Photography
Another example is product photography. Since it involves shooting inanimate objects, it can be considered as a type of still life. However, where the two categories differ is that with product photography, the main goal is to show off a product.These photos usually focus on providing a clear image of the product without distractions. In contrast, still life shots are usually more artistically driven and offer more opportunities to be creative.
Food Photography
Food photography is another subcategory of still life that is closely related to product photography. Often, the main goal is to depict food in an attractive way. However, when compared to product photography, food photography often also involves setting the scene by arranging other food items and tableware around the subject.
Found Object Photography
Photos of found object art can be considered another branch of still life, although found object art also usually involves modifying an object or placing it in an unusual context. For example, check out this series of photos that use cheeseburgers in interesting ways. Another example is this photo series where the photographer used common food items and balloons to create surreal and thought-provoking images. While they do fall under the umbrella of still life, they also go a step further to make viewers think about the subject in a different way.
Create a professional still life photography portfolio
Choose from award-winning website templates and showcase all your stunning creative work with Format. Build My Website Still Life Photography Equipment Another benefit of still life photography is it doesn’t take much to get started. If you’re going to try it out for the first time, your studio can be just a table by a window. Since the arrangement of objects is an important part of still life shots, you can begin experimenting with arrangements using your existing equipment. There’s no need for a top-of-the-line camera for that! But when you want to start capturing professional-looking still life photos, that’s where the need for some new gear may come in. The most important of which is lighting equipment.
Still Life Photography Lighting
Lighting is of particular importance in still life photography. When your subject is an ordinary object, lighting is one of the best ways you can create a mood or add interest to your photos. Light Reflectors Light reflectors are one of the most affordable and easiest ways to start taking better photos. A simple light reflector will let your start manipulating the natural light in your scene, without the need for additional lighting equipment. Whether you are trying to soften some shadows, better illuminate the subject, or highlight the textures in your composition, light reflectors can help. They are also pretty easy to get your hands on. For example, this 5-in-1 collapsible light reflector is available for about $20 and includes white, silver, gold, translucent, and black surfaces. Alternatively, if you are seeking a DIY solution, you can easily make your own reflectors using tinfoil and cardboard.
Speedlights and Strobes
A speedlight or strobe is the next piece of equipment you’ll want to look into. By having an off-camera flash or strobe to light the scene, you won’t have to rely on natural light from a window. Instead, you’ll have more freedom to light your subject from any angle. In addition, a powerful light source like a speedlight or strobe will give your photos a more professional look and let you create interesting effects such as low-key photography (see more about low-key photography in the “Still Life Photography Ideas” section). •A speedlight (sometimes called a flashgun or hot shoe flash) is a great place to start. They are more affordable than strobes and will be more than enough for most still life photographers’ needs. •Strobes are more expensive but offer a few more features. They will enable you to adjust the light’s intensity by tweaking their settings and they typically have a built-in modeling light that will help you figure out where to place the strobe to get the desired effect.
Softboxes
Softboxes are another important piece of lighting equipment. Whether you choose a speedlight or strobe, you should consider picking up a softbox for shots where you want to avoid harsh shadows. Softboxes can diffuse the light from your flash or strobe into a soft and even light. They also greatly reduce spill light and help with directing your light in exactly the way you want. For more information on softboxes and how to choose the right one for your needs, check out this introduction to softboxes.
Lenses for Still Life Photography
You don’t need a wide assortment of expensive lenses for still life photography, but it’s good to have a couple of quality lenses to choose from. One thing to keep in mind is you probably won’t need any wide angle lenses. That’s because in still life photography, the subjects usually don’t take up much space. So if you’re shooting with too wide of a view, you’re going to capture a lot of unnecessary space that you’ll probably want to crop out.
53/ SEPTEMBER 2021 Besides that, here are a couple of other tips for choosing still life photography lenses. •Close up and macro lenses will help you get creative with the perspective in your still lifes. By offering low minimum-focus distances, they’ll let you get as close to your subject as you want, which results in more interesting compositions. •Telephoto lenses are a great choice for still life photography. For one, the narrow angle of view offered by telephoto lenses will help you properly fill the frame with your subject. Secondly, the extremely shallow depth of field will let you create a very specific point of focus, such as focusing on a particular part of your subject. For example, let’s say you’re shooting a classic still life of a bouquet of flowers in a vase. With a telephoto lens, you could choose a particular flower as the focal point and have other flowers out of focus. In this way, a telephoto lens gives you more options to experiment with your still life compositions and achieve interesting effects. Cameras for Still Life Photography Still life photography isn’t very demanding when it comes to your choice of cameras. When compared to just about any other type of photography, still life offers more control over the scene. For instance, you’ll probably be shooting indoors and be able to take your time setting up the scene and adjusting the lighting. That means there’s no need to invest in a top-tier camera that boasts features like heavy duty weatherproofing, rapid continuous shooting modes, or the ability to handle challenging lighting situations.
Cropped Sensor Cameras While cameras with full-frame sensors are usually preferable, this is less important in still life photography. That’s because one of the major downsides of cropped sensor cameras is how they affect the focal length of lenses. For instance, a 50mm lens used on a cropped sensor camera will behave more like an 80mm lens—your shots won’t be a wide as they would be on a full frame sensor camera. But since the subjects in still life photography typically aren’t wide, this is less of a problem. And since cropped sensor cameras are more affordable, they can offer a good choice for still life photographers on a budget.
Still Life Photography Tips These tips will help you avoid the most common pitfalls, so keep them in mind when you’re planning out your first still life photo shoot! •Plan out your shoot. Still life photography offers lots of freedom, and if you don’t have a plan it can be easy to lose direction. So it’s worthwhile to spend a little time planning out the type of image you’re aiming for and brainstorming some still life photography ideas. Think about the objects you’re going to use, some different ways you can arrange them, what type of lighting you’ll use, and what mood you want to achieve. •If you plan on shooting next to a window, choose a window that isn’t exposed to direct sunlight. Otherwise, the light will be too harsh. •You’ll get the best natural light on overcast days as the light will be soft and even. But if you’re trying to shoot on a bright day and find the light is too harsh, you can hang a sheer white curtain in front of the window as a makeshift diffuser. •Use a tripod. Having your hands free will make it easier to rearrange the objects and lighting between shots. It will also come in handy for shots that need longer shutter speeds. •When choosing objects to use in a shot, try to pick things that work together visually. For instance, if one of the objects is an antique, keep that theme consistent by only including other old-fashioned items. Also consider using items with complementary colors, or items that are related in some way (such as a book and reading glasses). •Lighting from the side tends to result in more interesting shots than lighting the subject head-on. It will help bring out the textures in your subject. Also, side lighting can create a bright focal point on one side of the image that helps lead the viewer’s eye through your composition.
54 / SEPTEMBER 2021 Choosing backgrounds If you want to make sure no attention is taken away from the subject, you can always go the plain white route and use some white cardboard or a tablecloth as the backdrop for your still lifes. On the other hand, if you want to get creative, there are a lot of possibilities. For instance, using painted canvas as your backdrop can add some flair with some nice texture and color. However, the last thing you want in still life photography is a distracting background. So the trick is to stick with neutral or subtle colors that won’t overpower the subject. For that reason, white, greys, black, and browns work well. •You don’t have to stick with the traditional subjects like fruit in a bowl. There are plenty of great still life photography examples online that use objects you might not have thought of. Just a few ideas include leaves, tools, moldy food, a melting popsicle, and the surface of oil and water. So try to get creative when choosing what objects to use.
Still Life Photography Ideas If you think you’re ready to get started but are looking for some inspiration, here are some ideas to get your creative juices flowing. •Old objects tend to be interesting. The more beat up and worn out they are, the better. These objects often offer interesting textures with their rust, cracked and flaking surfaces, or signs of damage that make you wonder what they’ve been through. So, whether it’s a raggedy pair of boots or a dusty old book, see what interesting old items you have kicking around. •Try creating some flat lay compositions. This style involves arranging objects on a table or other flat surfaces and shooting directly from above. This type of composition can help simplify the process as all of the objects will be on a single plane, and you can position everything exactly where you want it—with no need to worry about gravity. •Try taking some low-key images for moody results. Low key photography involves shooting dark-colored scenes that emphasize the light in specific areas. These shots can also put all of the viewer’s attention on your subject as there will be nothing but pitch black as the background. Low key images can look like they must have been taken in a professional studio, but you can do it almost anywhere. The trick is to set your camera to use a very fast shutter speed, low ISO settings, and a narrow aperture. This will keep out the ambient light so the only light visible in the final image be from your flash. Try using this technique to shoot some flat lay compositions against a black background and it will look like your subject is floating in a black void. Get Some Objects Together and Get Started Now you know what still life photography is and some of the techniques that will help you succeed at it. Once you start taking some still life shots that you’re truly proud of, don’t forget to upload them to your online portfolio website
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Closing dates for upcoming Salons 2021 find the information brochures on the PSSA website
22021-09-25 PSSA 20th Up and Coming Salon (Brochure available)
2021-10-02 8th Swartland Salon
2021-10-30 5th Paarl National Salon of Photography (Brochure available)
2021-11-06 2nd Benoni PDI Salon (Brochure available)
2021-11-13 OTRCC 2nd National Digital Salon
2021-11-20 Cross Continental Circuit
2022-01-08 MIROC International Salon Circuit - Edenvale
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