For this assignment you will use Padlet to present a summary of your understanding of the key concepts (conventions, expectations, meanings) of a chosen genre from the materials you have engaged with. The readings, research and activities will have enabled you to think about genre in a variety of ways and you can reflect on this in your assignment. 

Within Padlet you can use image, video, text and sound as ways to summarise and critically reflect on what you have discovered so far. It will be useful to go back over your learning log and think about the ideas that have sparked your interest. 

You may wish to write freely in a journal style extended reflection to give yourself room to explore and think through your ideas about genre so far. This could be presented on your learning log and then summarised or tightened into a shorter version for the Padlet presentation. Alternatively, you could format this as a PDF and upload to your padlet. 

This assignment will be built upon throughout the rest of the course, so although you may choose one genre for focus now, by the end of the course you will have explored and created work across Landscape, Documentary, Portraiture and Still Life.

 Suggested 750 words/annotation, or 6 minute presentation. 

Ensure you correctly credit and reference any images/quotes used throughout the course. 

You may find it useful to compare and explore areas of similarity or difference across Landscape, Documentary, Portraiture, and Still Life. Consider theoretical features, characteristics, histories, and techniques. How has this project enabled you to think differently or expand your understanding of particular elements of the genre you have studied? 

So, the genre that I am going to do more research on is still life as for the last two tasks I have done still life and I wanted to find out a bit more about still life. 

  In the 19^th century artists adopted photography as a new medium for still life art, to express their concepts in a novel format and this is where the still-life photo was born. 

Still- life photography origins reside in the early 20^th century. Some photographers who emerged was Baron Adolf de Meyer and Emil Otto Hoppé. Baron Adolf de Meyer was known for his highly artistic approach to photography, and he employed darkroom techniques and used soft-focus lenses to create photographs that looked like drawings.  Emil Otto Hoppé was a British photographer who was known primarily for his portrait photography and travel photography however he did produce still-life photography in the 1920s with a handcrafted style.  

Traditional has continued in contemporary practice as photographers are using props, designing sets and constructing elaborate scenes to photograph.  Some photographers will search for striking arrangements to provoke thought and others will see an extraordinary pattern and meaning in everyday things. Some of the images will look cluttered however they implied order among the chaos. 

When photography was first started it required long exposure time and still life provided an ideal subject matter.  Photographers would arrange the objects and the traditional motifs to create visually pleasing arrangements. This helped to provide the opportunity to test the possibilities of photography through experiments with composition, framing and lighting and producing photographs that would have an enduring influence on contemporary photography. 

One photographer who comes to mind for this movement is Man Ray. Man Ray was an American visual artist who used different art media and was a prominent figure in the Dada and Surrealist movements.  He had changed the aspect of still-life photography and he pioneered innovative techniques in photography.  

An example of his work is Man Ray’s Dead Leaf (1942) and this is an example of modern still-life photography.  This photograph is of dead castor bean leaf on wood, and it brings in the traditional Dutch memento Mori motif into modernity.  So, the dark, foreboding, and poignant image isn’t a characteristic of Man Ray’s work.  He wrote a caption for this image, and it says, “the dying leaf would be completely gone tomorrow.”   

Mat Collishaw is a British artist and photographer who creates still-life photographs. One of his series that he has done is called Last Meal on Death Row (2012) and he recreates the menus requested by men on death row. As one killer Russel Brewer had requested ten items and then not eat them, and it is prompting the state of Texas to stop offering death row inmates last meals.  His work often explores the duality of humanity, in-between life, and death.  His eerie memento moris does evoke the memories of the Dutch paintings and it also reminds the viewers of the fragility and ephemerality of human life, and it causes the viewers to think about the value of our decadent pleasures. 

Tabletop photography 

Tabletop photography is about shooting small objects on a table. It is a great way to start in still life and any photographer at any level can do this. The photographer will have complete control over what they shoot if everything fits on the tabletop and isn’t living so the photographer could make anything their muse. 

Product and packshot photography  

Packshot photography is also known as packaging shot or product shot and this is where the photographer takes photos of products, still or moving images. They will capture the image of the product along with the packaging or labels. Product photography is to provide an image that displays a clear view of the object without any distractions. Some still life is more artistically driven by focusing on unique angles or perspectives which will allow for greater artistic expression while showcasing inanimate objects.   It is a great too to boost eCommerce.  The aim is to create the image to show off the product as the consumer might encounter it at the store or online because the packshot photos will feature the packaging and labelling, consumers with already be familiar with the product when people are able to see it for sale.  This helps to create a sense of familiarity with the product before anybody has even brought it and the accurately representing the product to reduce complaints.  

Food photography 

Food photography is centre on depictions of food in an attractive way. Compared to product photography which only lets the subject as the focus, food photographers have more control over what the other items are included around their subjects like the tableware and additional pieces like bread or cheese boards.  

Found object photography 

Found object art is considered a branch of still life however it must do more than just having interesting subject matter.  Found object art can be an interesting conversation starter and this is because it delves into topics that people might not normally think about at first glance. 

·        Need to keep the still-life photography simple. 

When people are starting out as a still-life photographer, you want the subject to be easily identifiable to express your concepts clearly. Also, you do not want to overcrowd your image with too many objects.  

·        Don’t rush the process. 

When somebody is photographing still life, they will need to evoke calm as well as some of the mood that they have chosen for their image.  This is completely different to other photography genres like action photography as you would need to concentrate on the decisive moment.    By creating a calm atmosphere, it will help the photographer to focus on the image. Still life is not only about the composition and lighting and it’s about what attracts the audiences and the interrelationship of the objects and the harmony of shapes and colours. 

·        The details are everything. 

Normally still-life photographs are very clean however the photographer needs to think about the finer details to be in order. Also, they will need to make sure that there is no smudges and visible specks of dust as it can ruin the image however if the photographer wants it to be in the photograph they can as it can sometimes add to the photograph. 

·        Need to experiment with the composition. 

Lots of still-life photographers will begin to practice with a vision for their art however it sometimes doesn’t go to plan. So do not be afraid to experiment with the composition and move the objects around and this will lead the viewers eyes to look around the photograph and you may like this effect.  Fewer the objects that are in the photograph, the easier it tends to be to assemble a composition. The photographer will need to think about the rules of composition as they are shaping their pictures. Also, they will need to think about the golden crop as this is good tool for still life but also diagonals. The photographer will just need to experiment with it and see what looks right. 

·        Need good lighting. 

The photographer will need to find good lighting when they photograph still life.   Photographers can make do with just one light and one reflector. Also, they can use a desk lamp or daylight from a window.   The best lighting comes from the north-facing window however the unexpected corners of their home as well. The photographer will need to think about what type of lighting they want as the lighting helps to evoke the mood in photographs.   They will need to make the use of a unidirectional and sharp light for this they can use the desk lamp. If they are taking still life photographs at home the photographer can spend a day watching how the light changes in their home and see where the interesting light and shadow gradients are.   If the photographer wants to use a studio softbox but doesn’t have one, they can use a window that has white curtains as this will create a similar effect. Also, they can use blinds as well as it gives a diffuse light that will help to draw a fine tonal gradient on objects.  They will need to keep in mind that they will get the softest light by placing their composition in the space outside the window frame rather than directly facing the window.  Also, there is other rooms that people can use like the attic or a cellar space as it will add a mysterious atmosphere to the photographs and their photos will acquire a veneer of decay that will make them more engaging. 
 

·        Use reflectors and gobos.

Sometimes objects will need to be lighted via reflections. So, by using a reflector whenever an object’s unlighted side would be too dark and in the opposite situation the photographer can use a black panel which is known as a gobo.  Also, they can use a piece of black cardboard, and this will help them to shade bright spots and give the subject darker contours. 

·        Choose the right probs. 

The photographer shouldn’t complicate their photography with too many subjects, but it is their choice on how many objects that they want in the photograph.  A photographer can take a perfect still life with just two props and the surface they’re sitting on. They can use an ordinary wall, piece of canvas, a sheet or a cardboard are enough as a background. It’s very important that the objects mutually communicate.  The photographer should join objects that might seem unjoin able however this will create bond that will surprise the viewers.  Also, they can do the complete opposite and use similarity of shapes to infuse harmony to the photograph.    If the photographer is starting out photographing still life, they shouldn’t start out with the difficult tasks like photographing glass or glossy objects. So, they should start out with objects that have a less-complex surface like matte ceramics and porcelain, wickerwork, paper, or wood.  Also, the kitchen can contain a lot of inspiration like the silverware and food makes great still life.  However, the variety of objects are just endless.  There is classic props and modern props, and this can be anything except living creatures. The classic props can include, apples, pears, vases, flowers and much more and the modern props can be tools, shoes, cigarettes and much more. 

·        Imagine the photograph 

The photographer should create a mental vision of what the future photograph looks like. By doing this it will clarify what mood they want to bring to the photograph.  Also, they will be narrowing down their choices of props to just the ones that fit their dream photos.  By having an idea of what they want the photograph to look like will help them to choose the right lighting.  

Barrett,T., 2021. Criticizing photographs.6^th ed.Abingdon and New York: Routledge, p.84, 70