07 June 2017



PART ONE: Writing about THEIR photo essay.
1. Spend 15-20 min looking and reading through each of the photo essays in the class (on blogs).
2. Choose one of the photo essays to critique.
3. Look at their photographs and read their captions/statement(s) again.
4. Go to the "Reading Photographs" questions (CLICK HERE). When you choose your questions, adapt them to/for viewing the photo essays. The subject/verb agreement might be off a bit because you are viewing groups of photos rather than single images. 
5. Choose two/three questions from each section that you will use as the basis of your inquiry/examination of their photo essay.

6. Address an email to me (TuHSHohman@gmail.com)
7. Put YOUR FULL name in the subject line.
8. In the body of the email, copy and paste the link to the photo essay you are critiquing. write to me the inquiry/examination that you conduct based on the questions you have chosen.

9. This inquiry/examination is the time for you to be discerning and questioning. Your writing to me should be of a length that shows you have critically viewed the photo essay. You should pose questions, offer solutions, and determine ways with which the photographer could improve on their story/idea. The photographer you critique will NOT be made aware of your inquiry/examination.

PART TWO: Writing about YOUR photo essay. 
1. Go to your own photo essay.

2. Examine your work with a critical eye, and explain what you would now do to improve your final story/idea if you were to do the same thing again. What is missing? What could be edited out? What part of your story did you NOT tell? Etc. Be self-examining and critical without being cutting and derogatory. This is not a moment for you to beat yourself up, but rather to take your ego out of the mix and look for areas of improvement.

30 May 2017


Choose a project from one of links below (or from an idea that you find), and photograph the idea by next class. Choose an idea will challenge you.

Bring the photos to next class.

Email me your idea (and the link to the idea) by 3pm.

*Note: your project idea needs to be one where actual photographs are made - photographs that will require you take time & care creating and developing the images.

Student Art Guide: 100+ Creative Photography Ideas. CLICK HERE.
101 Photo Ideas. CLICK HERE.
52 Weeks. CLICK HERE.
16 Projects. CLICK HERE.

24 May 2017


The photo essay and related captions/statement are due to your blog by the end of the day Friday, June 2.

For your captions/statement follow these guidelines:

CHOOSE the two best photos for each category by asking the questions:
1. Does the photo add essential “information” to the overall story?
2. Is the photo a natural segue/transition from the previous photo…and to the next one?
3. Can the photo – with the caption you write for it - stand on its own as a strong image with essential information?

You need to have TWO photos posted for each of the categories listed on the original post (CLICK HERE for the post).

CROPPING – If the photos you took need to be recomposed, do one of the following in Photoshop:



Depending on your topic, one of the following will be appropriate:
Captions are to be placed under each photo.
The statement is to be placed at the beginning of your post before the photographs.
Based on your topic, you still may be placing text of some sort under each photo of the essay.

CAPTIONS…are a two-to-three sentence mini-story.In most photo captions the first sentence identifies the people and place in the photograph and supply the date and location where it was taken. The second and third sentence should provide contextual information to help readers understand what they are looking at.

· Include the WHO, WHAT, WHERE, WHEN, HOW…and maybe WHY.
· Use a variety of adjectives and adverbs
· Use descriptive language.
· Use strong, visually specific nouns
· Consider the action before and during the photo, and reaction to the ‘event’
· Use colorful, lively, visual action verbs
· Write in present tense, active voice (unless changing tenses to make it logical)
· Be factual
· Use a variety of sentence patterns
· Identify people in the photo
· Use complete sentences
· Use first and last names

STATEMENT – Written in first person.
A. . Write an overall statement of purpose/intent/motivation/etc. that explains your photo essay

i. What is the topic?
ii. How does the topic address something about the human condition?
iii. How is the topic relevant to life in 2017?
iv. In what ways might people/society feel about the topic?
v. What are the pros and cons of the topic?

i. What are your observations about the topic?
ii. What are your feelings about the topic?
iii. What is the significance of the topic to you?
iv. How has the topic affected you?
v. Specifically, what are you trying to convey through your photos?
vi. What do you want the viewer to think, feel, or infer from your project?

D. The statement should be two/three robust and weighty paragraphs that leave little to
the viewer's imagination about your purpose/intent/motivation, and what you want the
viewer to see/notice/glean from your work.

22 May 2017

Monday, May 22

Good morning.

Today, please do the following:

1. If you have not done so, please put your photo essay images in your folder on the server.
2. Post your 2-3 images for each category to your blog.
*On Wednesday, we will begin writing the captions or an artist's statement about topic/images -whichever is more appropriate for your topic. We will talk about this on Wednesday. 

Once that is done, develop & post the GOLDEN HOUR photos you made over the last few days. If you need more, do those by Wednesday. We will be printing an image, so be ready on Wednesday to submit your best image.

I will be on campus by noon today, so if you have any questions stop by to see me.

Thank you for your work.

18 May 2017

PROJECT #11: Golden Hour Portraits(+)

OUR FORECAST (Apparently, the sun still exists):  

Sunrise & sunset times are HERE. (CLICK HERE).

BLUE HOUR: The hour* before sunrise and after sunset.
GOLDEN HOUR: The hour* after sunrise and before sunset.

*Depending on where you are on Earth, the hour will be longer or shorter than an actual 'hour.' 

10 REASONS to shoot portraits during golden hour. CLICK HERE.
Golden hour photography explained. CLICK HERE.

For next class, bring back FIFTEEN+ images that you make during the magic hour over the next few days.

- 1/2 of the photographs need to be portraits.
- The other 1/2 can be subject of your own choosing.
- In addition, compose your photographs in the rule of thirds.

The rationale and objective for this set of photographs is to have you observe and record the type of light that occurs during the "magic hour." 

Extra credit earned for morning magic hour photographs (for obvious reasons :)

CLICK HERE for a link to portraits using natural light (perfect for golden hour).
A bit more about times and light. CLICK HERE.


There are apps to find the hour(s) in your location:

Wiki definition. CLICK HERE.
A few tips. CLICK HERE.
Golden hour tips. CLICK HERE.
A good link. CLICK HERE.

16 May 2017


TO-DO by FRIDAY (end of class):

1. Photograph, edit, and post the paper PHOTOGRAM prints. Title the post "Photograms."
2. Photograph, edit and post the paper 35mm PRINTS.  Title the post "35mm PRINTS."
3. Make one or two 8x10in prints in the darkroom.
4. Make one or two double exposure prints in the darkroom (sandwich negatives).

5. Photo essay prep:

a. Put all your images in your folder (within the "Photo Essay-1" folder) on the server.
b. Go to the ongoing link - types of images for photo essay.  Review the types of images needed for your essay.
c. Peruse your photos for two/three images for each of the categories.
d. Create a post titled "Editing Essay Images."
e. In the post, put two/three images for each category. Post them in the order they are in the list, and clearly label each type with a "heading" font.
f. Publish post. 

*Review the TOPIC RUBRIC here. 

Next up: Captions for each photo. 

10 May 2017

FILM ROLLS #1 & #2

Film Roll #1: Your choice of subject matter.
Film Roll #2: Faces

1. Photograph/develop/print your images from each roll as taught in class.
2. Once the prints are dry, carefully photograph each print to create a digital version to be opened in Photoshop.
3. Adjust the exposure/bright/contrast as necessary for each image.
4. Crop and/or transform if necessary.
5. Post to ONE blog post titled "Film/Darkroom Prints." 
6. Post 4+ images. 

18 April 2017

WEEKEND PHOTOS (Photogs choice)

Develop (curves+exposure+ ?)
All 8 are posted.

11 April 2017

LOOK: Jan Groover (1943-2012)

Jan Groover. CLICK HERE.

PROJ#10.C: STILL LIFE (Reinvented By You)

DIRECTIONS: Using your lightbox set up, reinvent the "still life" in your own way. Of course, vary the placement of your lights to create distinctly different images.

Incorporate the three of the following - in some way - into a total of 12 photographs:
1. Something(s) frozen in ice.
2. Food coloring & water.
3. Something refracted through water/glass.
4. Cut/bent/folded paper (to create abstract light & shadow).
5. Multiple glasses/bowls.
6. Flowers.

10 April 2017

LOOK: Stephanie Gonot

Stephanie Gonot. CLICK HERE.


The Atlantic. CLICK HERE.

1. Go to the link above.
2. First, look through the photos without reading the captions.
3. Choose three "Reading a Photo" questions.
4. Grab your most moving/interesting photo & post the image to your blog.
5. Caption the photo with appropriate accreditation.
6. Write your responses under the photo in your post.
7. Title the post "READING A PHOTO #4" & publish.

*This is worth 4 points, and will be combined with your "March Classwork" score in Synergy.

07 April 2017


DIRECTIONS: Using your lightbox, choose FOOD as your subject matter. The food is your choice. Be clever and unexpected with the set-up and arrangement, and as with the first group of photos you made, vary the placement of your lights to create distinctly different images.

06 April 2017



LOOK: Molly Cranna's Still Life Photography

LOOK: STILL LIFE Instagram Photogs

Still Life Instagram Photogs. CLICK HERE. 


*Post first published February 2017.


Day in the life of a fashion model. CLICK HERE.
Portraits of Tokyo’s Rockabilly Subculture Roller-Zoku Gangs. CLICK HERE

Greek neighborhood. CLICK HERE.
Ruth Prieto. Safe Haven. CLICK HERE.
Reindeer Races Above the Arctic Circle. CLICK HERE.
Weeknight dinner. CLICK HERE.
Timbers Army. CLICK HERE.
Yes! Magazine. CLICK HERE.

Photo Essays with a PURPOSE. CLICK HERE.
Asking questions of your subject. CLICK HERE.

Types of Photos You Must Make.
(Do a variety of each. We will edit to a final group that includes a couple of each of the following types.)

By including a variety of types of photos in your essay, you will ensure that it is both interesting and informative. The following types of photos, presented together, can create a successful photo essay. Not only is it important to choose powerful photos, but also to present them in an effective order. While the order of some photos (e.g. the lead photo, and the clincher) is set, the order of most types of photos in your essay is your preference.

The Lead Photo: Similar to the first two sentences of a newspaper article, your lead photo should effectively draw in your audience. This is usually the most difficult photo to choose and should follow the theme of your essay. It could be an emotional portrait or an action shot, but ultimately it should provoke the curiosity of the viewer.
The Scene: Your second photo should set the stage and describe the scene of your story. An overarching photo taken with a wide angle lens is often effective.
The Portraits: Your photo essay should include at least one portrait. Capturing an emotional expression or telling action shot can effectively humanize your story. These photos often evoke strong emotions and empathy in the viewer (whether it is a positive and enthusiastic emotion, or a sympathetic and concerned emotion.)
The Detail Photos: Detail photos focus in on one element, be it a building, a face, or a relevant object. These photos are your best opportunity to capture specific objects. The captions of these photos should be informative and educational.
The Close-up Photos: Similarly, close-up photos provide an opportunity to focus in on specific objects. These photos are tightly cropped, simple shots that present a specific element of your story. Again, this is an excellent opportunity to present information in the caption.
The Signature Photo: The signature photo summarizes the situation and captures the key elements of your story in a telling moment.
The Clincher Photo: The final photo, the clincher, should evoke the emotion you want the viewer to walk away with, be it a feeling of hope, inspiration, or sadness. Decide on this mood before you select this photo.

Remember, these suggestions are only guidelines. Photo essays are a form of art, and like any artistic creation, breaking the rules can sometimes create the most powerful result. Don't be afraid to try something different.

Following are ten photo essays ideas to consider…

Photo Essay #1: Document a Local Event. The town I live in has an annual bicycle classic. To turn this into a photo essay, one could arrive early to catch the cyclists and sponsors as they are preparing, then photograph the cyclists riding throughout the day, and finish with some shots of tents coming down and everyone heading home.

Photo Essay #2: Exhibition. Find an exhibition going on at a nearby gallery or museum. Not only photograph the pieces themselves but also those in attendance—how they are interacting with the pieces and among themselves. If you can, attend the reception so you can also capture the artist or artists whose work is on display or the curators of the exhibit.

Photo Essay #3: Transformation (Short-term). For this photo essay, find a subject that is undergoing a short-term transformation. This could include a group of men growing mustaches to celebrate Movember or a stray dog brought in to a shelter that is groomed and adopted. This sort of essay should take no longer than a month or so to tell its story.

Photo Essay #4: Transformation (Long-term). Think pregnancy, from the baby bump through to birth and maybe even the first birthday, or following a returning soldier and their transformation back to civilian life. This project should last months and could be worked around other projects being completed at the same time.

Photo Essay #5: A Day in the Life. For this essay, find someone such as a doctor, lawyer, firefighter, or police officer willing to let you follow him or her for a day, both behind the scenes and during their job. If there are times when photos cannot be taken, then you can use the text option for a photo essay and supplement your photos with some captions or short written passages.

Photo Essay #6: Raise Awareness. Find a local charity and document their daily operations, their personnel, and who or what they are helping. Give a visual sense of what they are trying to accomplish and why it is important.

Photo Essay #7: Turn a Day Out into Reportage. Find a location one would normally go to for a day out but treat this day out more as reportage—photograph behind the scenes shots, interview workers and customers. Locations could include amusement parks, nature preserves, or movie theaters.

Photo Essay #8: Give Meaning to Street Photography. Hit the streets and document the faces of you see. Obviously, be respectful, but perhaps engage in conversations. Try to go deeper than the surface and look for what passersby tend to ignore.

Photo Essay #9: Neighbors. Find a neighborhood and, after photographing the homes, ask to photograph those inside the homes. You could photograph them inside their homes or just in their doorways, depending upon what you want the focus to be on—the interiors or the individuals within those interiors.

Photo Essay #10: Education. Find a school and photograph its students, teachers, and classrooms. Show the students studying and playing and the teachers teaching and on break. Photograph the computer labs and technology if it is a more affluent school or focus on what the teachers make do with if it is a less affluent school. For a longer essay, you could compare and contrast a rural school to a city school.

05 April 2017


Using your light box (intentional set up of lighting), choose three different still life objects. Photograph all three a minimum of 3-4 times - changing the light slightly for each photo (one side, both sides, from above, below...)
From the photographs of each subject, we will edit to one or two that are most successful in terms of light, shadow, exposure, subject, and composition.
For this Part 1, use a plain background. Keep it minimal and simple...for now.

-The focus of this project is to observe light, control light, capture light...intentionally and methodically.
-Your camera will need to be on a tripod, beanbag support, or sturdy surface.
-The shutter, aperture, ISO are all within your control, and should EACH be adjusted to achieve a correct and intentional exposure.
-Unless the object(s) are wind-up toys (or something that is moving) there is to be NO motion blur captured.
-If the object is moving, photograph it both moving and not moving.
-Set your WB (white balance) appropriately.

Read, click, read, click...the following information:
For hundreds of years artists have made paintings of arrangements of bowls of fruit, food and drink, flowers and musical instruments. The term 'still life' was coined to describe these paintings of inanimate objects. Photography's first attempts at stil life mirrored these compositions. Although the French call a still life 'nature morte', which literally means 'dead nature', the photographer wants to bring the objects to life.

Great still-life photographs can give us a deeper understanding of and new relationships with the things that surround us. They focus in on the qualities of an object. Unlike other forms ofsti photography, still life offers photographers a subject that can be totally controlled, particularly in the studio. Lighting, cameras, lenses, and focus are chosen to help find or enhance the beauty of objects.

To give an object a beautiful visual value, a still-life photographer requires strong ideas and an attention to detail. Still lifes created for magazines and advertising make objects look heroic. The photographer accentuates an object's qualities to capture it at its most luxurious, appetizing, refreshing or fashionable.

Some objects, such as plants, pebbles and shells, are naturally beautiful and have been the subject of many photographic still lifes. Man Ray, Nick Knight, Robert Maplepthorpe and Andre Kertesz all photographed flowers, amplifying their beauty in different ways. Man Ray solarized his prints of lilies to show blowers ablaze with light. Nick Knight photographed specimens from the flower and plant collections at the Natural History Museum in London on vivid white backgrounds to accentuate their shapes. Robert Mapplethorpe photographed lilies in the studio to show their sensuality (Mapplethorpe's flowers HERE), while Andre Kertesz photographed a 'melancholic tulip' distorted like a cubist painting.

Food is a frequent subject of still life. Irving Penn - a master still-life photographer - created a beautiful image of frozen vegetables straight from his freezer. His American Summer Still Life features a bottle of Coca-Cola, a stick of chewing gum, a baseball and a hot dog smeared in mustard. Perhaps Penn's greatest still life - an image of great simplicity and humor - is of massive diamonds, worth millions of dollars, pictured as if dripping from a household tap.

Photographers have found beauty in the overlooked, the discarded and the ugly, sometimes coming upon readymade compositions in the street or their travels. Edward Weston photographed a cement worker's glove, crusty with dried cement. Irving Penn created an amazing series of photos of cigarette butts he'd picked up on the street, enlarging them to the size of posters and creating beautiful prints that give each cigarette a strange sculptural elegance. The result is an identity parade of battered butts. Martin Parr even found beauty in the front seat of his car after it had been broken into, talking a still life of the gleaming tiny cubes of smashed windscreen glass sparkling like gems.

When most people here the phrase "still life," they think of the classic paintings of fruits in a bowl that many painters utilized in their learning process. However, still life images are not just for paintings anymore. Indeed, you can capture a beautiful and artistic still life with a camera that can convey serenity and peace just as well as one composed of watercolors or oil paint.

With still life images, you are not only in charge of the photography itself, but you also must create the setting-including lighting and arrangement. This may sound simple. Nevertheless, there are many things that go into both of these aspects. First, do you want the light to be believable, like it is coming through an open window? Do you want it to only highlight one small part of the still life, or bathe all of the objects in a golden glow?


Ambrosius Bosschaert (1573-1621), Still-Life of Flowers, (1614)

Harmen Steenwyck (1612-1656). Still Life: An Allegory of the Vanities of Human Life. (oil on oak panel, 1640)
A dissection of symbolism and meaning HERE

Jean Baptiste Siméon Chardin. The Brioche. (oil on canvas, 1763)
An overview of Chardin HERE.

Dewdrops on dainty petals, light glancing off precious silverware, candied confectionery in blue and white Chinese porcelain bowls, the soft plumage of a dead songbird, the pale hue of a skull – still lifes have not ceased to exercise their spell upon us to this day with their close-up views of inanimate, yet by no means lifeless objects reproduced with painterly finesse. However, still life painting was anything but a merely aesthetic affair, even if today’s viewer tends to perceive it as such. It reflects not only a feeling of transitoriness and a longing for redemption, but also the pleasure of visually representing exotic trading goods with which Dutch and other merchants made their fortunes.

Since its emancipation from the religious painting of the late Middle Ages, when objects mainly served as symbols or attributes, still lifes initially provided a means of understanding and interpreting things from the viewer’s everyday world that were lying still. These objects reflected the order and structure of the Baroque era’s superior abstract world: the human senses or a certain temperament, the elements or the seasons informing the individual’s world, or transitoriness and guilty mankind’s need of redemption.

With the artists’ concentration on a few, often the same objects, still life painting gradually also turned in an ideal field of experimentation for their possibilities of expression. Painterly issues of representation became more important than the originally so prominent contents many works were charged with without ever replacing them entirely. It was above all in still life painting which held a low position in the hierarchy of genre categories that the artist had to prove his specific skills and a work’s attraction and value depended on its composition and ingenious assemblage of objects, its convincing coloring and masterly brushstroke. The paintings also evidence the expertise in rendering the most different materials and surfaces in a manner that deceives the eye. The artists experimented with various kinds of lighting from the even brightness of daylight to the weak glow of a single candle, utilizing them for the mise-en-scène (
stage setting) of situations and moods.

Margareta Haverman (Dutch, active by 1715, died in or after 1723). A Vase of Flowers, 1716. Oil on wood
Several female artists of the Netherlands specialized in flower pictures, the best known being Rachel Ruysch (1664–1750). Despite his secretive nature, Jan van Huysum accepted Haverman as his pupil in Amsterdam. She moved to Paris (about 1720?), married an architect, and in 1722 became a member of the Académie Royale. A year later, she was expelled because her reception piece was claimed to be by van Huysum himself. The only other known work by Haverman is a signed but undated flower piece in Copenhagen.

Luis Egidio Meléndez (or Menéndez) (Spanish, 1716–1780). The Afternoon Meal (La Merienda), ca. 1771. Oil on canvas
More about Melendez HERE.

Vincent Van Gogh. Still Life: Vase with Roses. Oil on canvas. Saint-Rémy: May, 1890

Juan Gris (1887-1927). Still Life with Open Window, Rue Ravignan. (oil on canvas, 1915)
A survey of Gris HERE.

Henri Matisse. The Goldfish. (oil on canvas, 1912)
An overview of Matisse HERE.

Giorgio Morandi (1890-1964). Still Life with Cups and Boxes. (oil on canvas, 1951)
More about Morandi HERE.

Zao Wou-Ki. 1951

Andy Warhol. ca. 1960's

Roy Lichtenstein. Still Life with Glass and Peeled Lemon. 1972

Artists to investigate: Willem van Aelst, Pieter Aertsen, Abraham van Beyeren, Peter Binoit, Jan Brueghel d. Ä., Jan Brueghel d. J., Jean Siméon Chardin, Adriaen Coorte, Georg Flegel, Jan Fyt, Willem Claesz. Heda, Jan Davidsz. de Heem, Cornelis de Heem, David Cornelisz. de Heem, Hans Holbein d. J., Justus Juncker, Willem Kalf, Jan van Kessel, Simon Luttichuys, Jacob Marrel, Abraham Mignon, Pieter de Ring, Ludger tom Ring d. J., Rachel Ruysch, Isaak Soreau, Peter Soreau, Harmen Steenwijck, Sebastian Stoskopff, Jan van de Velde, Jacob van Walscapelle, Gottfried von Wedig, and Jan Weenix.


Armand-Pierre Séguier (French, 1803 – 1876). ‘Still Life with Plaster Casts’. 1839 – 1842. Daguerreotype 8 x 6 in.

Still life photography has served as both a conventional and an experimental form during periods of significant aesthetic and technological change.

With its roots in antiquity, the term “still life” is derived from the Dutch word stilleven, coined during the 17th century, when painted examples enjoyed immense popularity throughout Europe. The impetus for a new term came as artists created compositions of increasing complexity, bringing together a greater variety of objects to communicate allegorical (definition) meanings. Still life featured prominently in the early experiments of the pioneers of the photographic medium and, more than 170 years later, it continues to be a significant motif (definition) for contemporary photographers.

Charles Aubry (French, 1811 – 1877). [An Arrangement of Tobacco Leaves and Grass]. about 1864. Albumen silver print

Baron Adolf De Meyer (American, 1868 – 1949). ‘Glass and Shadows’. 1905. Photogravure

Paul Strand (American, 1890 – 1976). [Black Bottle]. negative about 1919; print 1923 – 1939. Gelatin silver, on Cykora paper print

Albert Renger Patzsch. Flatirons for Shoe Manufacture. 1926./ Glasses. 1927. Gelatin silver print

Renger-Patzsch achieved in his renderings of objects and the material world. As a protagonist of the movement that came to be known as Neue Sachlichkeit (New Objectivity), he wanted to record, phenomenologically as it were, the exact appearance of objects—their form, material, and surface. Thus he rejected any kind of artistic claim for himself. Believing that the photographer should strive to capture the "essence of the object," he called for documentation rather than art.

Edward Weston (American, 1886 – 1958). ‘Bananas and Orange’. April 1927. Gelatin silver print

André Kertész (American, born Hungary, 1894 – 1985). [Bowl with Sugar Cubes]. 1928. Gelatin silver print
For Bowl with Sugar Cubes, photographer André Kertész created a still life out of a simple bowl, spoon, and sugar cubes, demonstrating the photographer’s interest in the compositional possibilities of layering basic geometric forms on top of one another – three rectangles in a circle (sugar cubes and bowl) and a circle in a square (bowl and the cropped printing paper). A visual sophistication is achieved through his adroit (definition) use of simple objects and dramatic lighting.

Edward Weston. Pepper. 1930

Frederick Sommer (American, born Italy, 1905 – 1999). ‘The Anatomy of a Chicken’. 1939. Gelatin silver print

Influenced by Surrealism, Sommer embraced unexpected juxtapositions and literary allusions to express his intellectual and philosophical ideas. In Anatomy of a Chicken, a severed head, three sunken eyes, and eviscerated organs glisten on a white board. Evoking biblical imagery, medieval grotesques, and heraldic emblems, Sommer calls on the viewer to consider the endless cycle of birth and death, the cruel reality of the food chain, and man’s role in this violence.

Man Ray (Emmanuel Radnitzky) (American, 1890 – 1976). ‘Dead Leaf’. 1942. Gelatin silver print

Irving Penn, Red Rooster, New York 2003. Inkjet print.


Irving Penn. ‘Still Life with Triangle and Red Eraser, New York, 1985′. dye-bleach print                                        
Irving Penn's still life search. CLICK HERE.
Irving Penn. CLICK HERE.
More Penn. CLICK HERE.

Marian Drew (Australian, born 1960). ‘Lorikeet with Green Cloth’. 2006. Digital pigment print
Marian Drew's site HERE. (Check out her other work too!)
Let's buy some of her photos HERE.

Jo Ann Callis. Her website HERE.

Cakes 2003, ©Sharon Core

Sharon Core (American). ‘Early American – Still Life with Steak’. 2008. Chromogenic print

Sharon Core, a 1998 Yale MFA grad, sprang into the art world’s consciousness with her 2004 show at Bellwether Gallery, “Thiebauds”. A photographic re-creation of the artist Wayne Thiebaud’s famous food paintings, Core reversed the conventional practice of paintings copying photographs by painstakingly baking, coloring, arranging, and lighting her re-creations and then printing them the same size as the Thiebaud originals.

Four years on and now showing at Yancey Richardson, Core has found new inspiration in the 19th century still life paintings of Raphaelle Peale. Unlike the Thiebauds, however, this time Core has not copied specific paintings. Instead she has analyzed Peale’s work in terms of subject matter, composition, coloration, lighting, and scale in order to understand exactly how they are made and then proceeded to create her own new works in an act of art historical homage.

It’s a difficult feat to pull off, but Core has succeeded where many others have failed, primarily by the softness of her lighting and her mastery of 19th century composition and perspective. As Core fully understands, if you’re going to go for it, you’ve got to go all the way.

Is it a painting or a photograph? Vintage or contemporary? Real or fake? One thing is for certain — these works are undoubtedly beautiful. In her latest series, “Early American,” the photographer Sharon Core explores the works of the American still-life painter Raphaelle Peale (1774-1825). In order to create these old-master-style images, Core used fruit that she grew in her own greenhouse (which she refurbished at her house in upstate New York) and authentic period porcelain and tableware that she collected. (From "In Focus" NYTimes)

A site for Sharon Core's work HERE
A great article on Core's work, and her process/history HERE.


-Choose your subjects intentionally. Do they have emotional value for you?
-Use symbolism to connect and create relationships between objects.
-How do you want to present your objects? (ie. in a box, on fabric, what color is the background, etc.)
-Keep backgrounds as simple as possible...or not.
-Use a tripod, or put the camera on a surface/rice bag/etc.


Craig Cutler's site. CLICK HERE.

Still life lighting techniques search. CLICK HERE.

CreativeBloq. CLICK HERE.