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Famous Still-Life Photographers – The Art of Still-Life Photography

The best still-life photographers present lifeless objects in a charming, imaginative, and striking manner. This skill allows the observer to appreciate the beauty and magnificence of the items depicted in contemporary still-life photography. Modern still-life photography is an art form, but it also has extensive applications in the publishing, printing, and web image industries. In this article, we will explore the most famous still-life photographers responsible for creating the most renowned still-life photographs.

Table of Contents

• 1.1 Olivia Parker (1941 – Present)
• 1.2 Paulette Tavormina (1949 – Present)
• 1.3 Jonathan Knowles (c. 1952 – Present)
• 1.4 Laura Letinsky (1962 – Present)
• 1.5 Mat Collishaw (1966 – Present)
• 1.6 Marcel Christ (1969 – Present)
• 1.7 Krista van der Niet (1978 – Present)
• 1.8 Jeroen Luijt (1978 – Present)
• 1.9 Henry Hargreaves (1979 – Present)
• 1.10 Evelyn Bencicova (1992 – Present)
• 2.1 What Influenced Still-Life Photography?
• 2.2 What Techniques Are Involved in Still-Life Photography?

Famous Still-Life Photographers

With contemporary still-life photography, an artist may communicate intellect, creativity, and aesthetic sense more powerfully than with any other photographic presentation, making it one of the most inventive kinds of art. Photographers now have the most effective and creative means of expressing their ideas through modern still-life photography. With the development of technology, the modern still-life photography genre evolved to its current form.

Since its inception, still-life photographs have seen several advancements, from the mobile camera obscura to the modern digital camera.

The most significant subgenre of photography that conveys inanimate subject matter—typically everyday things, whether created by nature or by man—lively and profoundly is still-life photography. Contemporary still-life photography has been greatly influenced by Greek, Roman, and Egyptian still-life art.

Ancient Egyptians decorated their temples and tombs with paintings. With those paintings, they wished to demonstrate their sacrifices to their gods.

The ancient Egyptian still-life artworks first gained popularity in the 15th century BC. Food-related paintings, including those of crops, shellfish, and meat, have also been discovered in old graveyards. In the Tomb of Menna, a noteworthy and ancient Egyptian still-life was found entwined with the particulars of their daily lives. However, contemporary still-life photographs and their actual content are currently considerably different from traditional methods. Both the subject content and the technology are up to date. Let’s check out some of the best still-life photographers.

Olivia Parker (1941 – Present)

The year 1995 saw the end of Olivia Parker’s view camera images due to a skiing mishap. Due to a broken leg that prevented her from using the darkroom for a year, she dabbled with digital software and PCs. Fine photographs and reliable prints developed as software and equipment advanced.

Parker misses producing silver prints, but using a digital camera in new ways has opened her to new possibilities.

“Using digital gives me complete flexibility to play without having to worry about using film or having a proper camera setup. However, view camera work was a far greater tutor for me in the beginning than digital would have been. It forced me to take my time, study the edges of the images, and evaluate the dynamics of what lies between the boundaries.”

Paulette Tavormina (1949 – Present)

Tavormina became a commercial photographer after relocating to Santa Fe, New Mexico, where she attended a course in black and white photography and darkroom technique. She now specializes in old Navajo jewelry and Indian ceramics.

She used her background in food design to operate as a prop and food expert for Hollywood movies including the 1999 feature, “The Astronaut’s Wife” , where she was responsible for designing complex food sequences.

While visiting Santa Fe, Tavormina was exposed to the masterpieces of Old Master still-life artists Maria Sibylla Merian and Giovanna Garzoni as well as the still-life paintings of Sarah McCarty, a Santa Fe-based still-life painter. She frequently frequents one of the city’s several farmers’ markets in quest of ideally imperfect floral subjects for her photography, amidst the bustle that characterizes the city.

Her arrangements frequently evoke the lavish richness of Old Master still-life painters from the 17th century and act as very personal interpretations of ageless, universal tales.

Jonathan Knowles (c. 1952 – Present)

Jonathan Knowles is known for his unique brand of liquid photography. Knowles is a science enthusiast with a very technical approach to image creation. His passion is creating visual communication that seems natural, whether it is macro liquid photography at one extreme or locale lifestyle at the other.

He believes that the beauty of a good picture comes from catching perfect moments on camera rather than relying on extensive post-production processes.

This attitude, along with the fact that he loves advertising, has resonated with the advertising industry. Whether they are working with customers or on personal projects, his attitude is radically different. With clients these days, there are so many stakeholders that everything must be meticulously prepared and agreed upon before the shoot.

He draws inspiration from art, graphic design, music covers, and periodicals, in addition to photography. He also has a large collection of photographic books, which he revisits from time to time at the studio.

Laura Letinsky (1962 – Present)

Laura Letinsky has focused on the central issue of what precisely qualifies as a photograph throughout her career. Letinsky began his investigation of photography’s link with reality by taking pictures of people, but he soon changed his approach to concentrate almost entirely on objects in the style of still life.

As she experiments with concepts of perception and the transformational powers of the picture, her meticulously constructed compositions frequently center on the leftovers of a dinner or party.

Letinsky utilized tableware, leftover food, and other items like vases or fruit bowls for one of her earlier series of photographs. Letinsky eventually turns this garbage into a subject deserving of study by seeing the images in this series as observations of neglected or forgotten features and leftovers of daily living.

Mat Collishaw (1966 – Present)

Photography and video are used in Collishaw’s artwork. The photograph Bullet Hole (1988), which shows what looks to be a bullet hole wound in a person’s scalp, is his best-known piece. Collishaw obtained the original illustration from a pathology textbook, which really depicted an ice-pick wound. In the last thirty years, he has participated in several solo and group exhibits. He attended Goldsmiths College.

His art is frequently upsetting, and it often takes a second glance to fully comprehend what is happening in his pictures.

For the same reason that Collishaw is a good religious artist and a good artist-artist, he is also a fine political artist. He does so because he respects the power of pictures. The abstract escape and the minimalist half-smile are not for him. He wants to strike your mind in the gut. He validates the art of feeling by demonstrating how its intensity may have depth.

Marcel Christ (1969 – Present)

Since Marcel Christ approaches still-life photography in such a distinctive way, his work is among the most identifiable in the field. Christ, who has researched both chemical engineering and photography, combines these two passions to produce his incredibly dynamic artwork. And it is precisely because of this background that he is an especially dynamic and creative photographer and cinematographer who enjoys pushing the limits of the effects and methods he employs. His artwork is the result of his fascination with the surprise and unpredictable nature of the substances he uses, yet in a strict studio atmosphere.

“Controlling coincidence,” he refers to it as. He accomplishes this by using it to give life to inanimate objects and commemorate little periods of time. Nothing in his art is “still.”

Krista van der Niet (1978 – Present)

Dutch-born photographer and academic Krista van der Niet works in both fields. Her photography mostly concentrates on still life, an age-old subject that she intriguingly enriches with humor and modernity. Even in her busiest works, she manages to attain an almost mathematical sense of equilibrium, which makes her work crisp and aesthetically beautiful.

She fascinatingly blends commonplace items and raises them to the level of art, frequently in order to attack media clichés—and occasionally just to make us laugh.

Naturally, van der Niet enjoys creating beautiful images—she can’t prevent herself from making everything look perfectly organized and beautiful. But it also becomes a little monotonous when it’s just about aesthetics. She desired an unsettling undercurrent. She also appreciates comedy in pictures that makes you want to smile.

Jeroen Luijt (1978 – Present)

Jeroen consistently uses the abstract minimalist still life and the traditional still life in his artwork. His wide-ranging interest in painting, particularly the Old Dutch Masters, serves as an influence on his work. Additionally, it concerns both the substance and the aesthetic. The piece must have a specific connotation.

It takes a long time to create a still life, even an abstract piece.

Making the shot may be a labor-intensive task in addition to the idea and all the preparation. The level of post-processing of the photographs follows. As a result, taking a picture occasionally requires more than a week. Jeroen made the proper decision to pursue photography, as evidenced by the numerous awards his work has received.

Henry Hargreaves (1979 – Present)

Hargreaves was raised in Christchurch, New Zealand, where he attended preschool through university. He never took photography classes, but it was always a pastime of his. He really went out and brought a camera and started playing to see if he could get this thing to shoot good images when he first started working in fashion in the early 2000s. He wanted to be the one pulling the strings behind the camera.

Despite shooting a wide range of subjects, he has learned many lighting methods and tactics, as well as an appreciation for the importance of balance in a composition.

He produces images that speak to him. Ideas can come from everywhere, but he typically believes he should try to build anything if it makes him laugh or continues popping into his head without being written down. The only obstacle when he makes a decision to act is his own drive.

Evelyn Bencicova (1992 – Present)

Evelyn Bencicova’s effort never quite amounts to what it seems. Her images show well-planned arrangements with artistic sterility and poetic overtones of enduring need and longing. In her “fictions based on fact,” Bencicova creates captivating narrative settings that straddle memory, fantasy, and reality.

She manipulates the viewer’s vision to draw them into the hidden maze of her mind by using multidimensional symbolic representations as illusions.

Her photographs allow for a comprehensive investigation of the ideas that go much beyond what they initially show because of their unsettlingly gorgeous symbolic imagery and washed-out color palette, which are set inside weirdly symbolic situations. In order to create a distinctive aesthetic space where the conceptual and the visual come together, Bencicova’s approach blends academic studies with an interest in modern culture.

That concludes our exploration of famous still-life photographers. The possibility to explore arrangement and lighting, possibly far more than the subject of a still life itself, is one of the most fascinating and difficult features of still-life photographs and the explanation why many of the best still-life photographers are drawn to it. With the subject matter being nearly unlimited, contemporary still-life photography allows the photographer to fully express their creativity.

Take a look at our still-life photographers webstory here!

Frequently Asked Questions

What influenced still-life photography.

The paintings made by the Dutch and Flemish Old Masters of the 17th century contain them frequently and prominently, and we can still see them in the works of still life photographers today. As one of the oldest instances of the genre in European painting, the Golden Age of Dutch and Flemish culture provided and continues to provide a plethora of Vanitas still-lifes, serving as an endless source of inspiration for modern artistic practices and still-life painters of all genres. Each of these pieces of art serves as a reminder to the audience of the fleeting nature of human existence, as well as the meaninglessness of all material possessions and accomplishments.

What Techniques Are Involved in Still-Life Photography?

This type of still life offers a huge area of technical exploration because photography is a medium that primarily depends on light. In the style of the Old Masters, still-life photographers produce the ideal contrast between deep shadows and piercing light that illuminates just particular things. Even though many of them are committed to the creative philosophy behind such a composition as well, their inventiveness is arguably best displayed in the fields of advertising and culinary photography. Given the significance of the Vanitas heritage in these nations and the fact that many of the best still-life photographers are from Belgium and the Netherlands, it should come as no surprise that the concept has also influenced numerous camera artists all over the world.

Jordan Anthony is a film photographer, curator, and arts writer based in Cape Town, South Africa. Anthony schooled in Durban and graduated from the University of the Witwatersrand, Johannesburg, with a Bachelor of Art in Fine Arts. During her studies, she explored additional electives in archaeology and psychology, while focusing on themes such as healing, identity, dreams, and intuitive creation in her Contemporary art practice. She has since worked and collaborated with various professionals in the local art industry, including the KZNSA Gallery in Durban (with Strauss & Co.), Turbine Art Fair (via overheard in the gallery), and the Wits Art Museum.

Anthony’s interests include subjects and themes related to philosophy, memory, and esotericism. Her personal photography archive traces her exploration of film through abstract manipulations of color, portraiture, candid photography, and urban landscapes. Her favorite art movements include Surrealism and Fluxus, as well as art produced by ancient civilizations. Anthony’s earliest encounters with art began in childhood with a book on Salvador Dalí and imagery from old recipe books, medical books, and religious literature. She also enjoys the allure of found objects, brown noise, and constellations.

Learn more about Jordan Anthony and the Art in Context Team .

Cite this Article

Jordan, Anthony, “Famous Still-Life Photographers – The Art of Still-Life Photography.” Art in Context. July 25, 2022. URL: https://artincontext.org/famous-still-life-photographers/

Anthony, J. (2022, 25 July). Famous Still-Life Photographers – The Art of Still-Life Photography. Art in Context. https://artincontext.org/famous-still-life-photographers/

Anthony, Jordan. “Famous Still-Life Photographers – The Art of Still-Life Photography.” Art in Context , July 25, 2022. https://artincontext.org/famous-still-life-photographers/ .

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Still Life Photography: The Ultimate Guide (+ 9 Tips)

A Post By: Lea Hawkins

Ever looked at a simple fruit bowl and wondered if it could be something more? Well, it can! Still life photography is all about transforming ordinary objects into visual art, and it comes with an array of powerful advantages:

• It’s highly accessible (you can do it in your own home!)
• It doesn’t require ultra-expensive gear
• It’s not nearly as hard as it might seem

I’ve been taking still life images for years, and in this article, I offer everything you need to improve your shots. I cover all the key elements including lighting, composition, and editing – so that, no matter your level of experience, you’ll be ready to shoot some amazing still life photos of your own.

Let’s get started.

What is still life photography?

Still life photography is an art form that involves capturing inanimate objects. This can include anything from a bowl of fruit to a carefully arranged collection of antique tools.

The appeal of still life photography lies in its accessibility and its potential for immense creativity. With complete control over all elements, from lighting to composition, you can turn ordinary objects into something extraordinary.

Seeing everyday objects through an artistic eye is the essence of still life photography. It’s about finding beauty in the mundane and ordinary. Whether you’re a professional photographer or just starting, still life photography invites you to see the world anew, and it’s a wonderful way to explore your creativity!

Essential still life photography gear

You don’t need to spend a fortune to get started with still life photography. An entry-level mirrorless camera or DSLR will work just fine. These camera types provide more control and flexibility compared to simple point-and-shoot models. Paired with a close-focusing lens , they allow you to capture sharp images of your subjects that you can edit, print, and hang on your wall.

A tripod is another important item, and while not every still life photographer works exclusively with a tripod, it’s a great piece of equipment to obtain. Even a slight camera movement can change the focus and composition, so a tripod will help streamline your workflow. More importantly, it’ll keep your camera steady, which is crucial for achieving clear, sharp images in low light conditions.

Other useful accessories include reflectors to reduce shadows and diffusers to handle too-harsh lighting.

That said, you don’t need to go gear-crazy; the key is to understand that quality images don’t necessarily come from expensive gear. With the right basic tools, beautiful still life images are entirely within your reach.

Key still life photography settings

Manual mode is where you want to begin in still life photography. Working in this mode gives you ultimate control over your image, allowing you to fine-tune the aperture, ISO, and shutter speed. With control over these settings, your creativity can truly shine.

A narrow aperture such as f/8 is a standard choice for still life photography. It keeps the subject in focus, giving you the crisp details that’ll make your still life images stand out. As for the ISO: Keep it low to maintain the best image quality. As long as you’re using a tripod, shutter speed is less critical; you can slow it down without causing blur.

Understanding these settings is essential to achieving professional-looking photos. While dialing in apertures, ISOs, and shutter speeds may seem technical at first, you’ll find that it quickly becomes second nature!

Basic lighting for still life photography

Light is an essential component of still life photography , and many still lifes feature beautiful lighting arrangements (which often create moody, painterly effects).

But it’s important to realize that you don’t need fancy lighting to create a stunning still life . When you’re starting out, I recommend using whatever light you have available, such as:

• Indirect light from a window
• A flashlight

Don’t just create your setup, take one shot, and call it a day. Instead, try out different lighting effects! Use a curtain to block out some window light, then remove the curtain to let the light stream in. Shine a flashlight at your main subject, then try a second shot where the flashlight is positioned off to the side and shrouds your subjects in shadow. Make sense?

Note that, if you’re using lamps, flashlights, or candles, you will definitely need a tripod; indoor lighting won’t get you a fast-enough shutter speed for handheld shots. (This can be a relatively cheap model; as long as it’s positioned on a sturdy surface, it should be able to keep your camera steady.) When you’re ready to shoot, just mount your camera to the tripod, activate the two-second self-timer , and start taking images.

Still life photography composition

Learning to compose still life photos is often a struggle for beginners. This is understandable, as still life composition brings up a ton of questions, such as: Where should I place all my items? Should they overlap? Should they be close to the background? What camera angle should I use?

Fortunately, still life composition isn’t as hard as it might seem. I have two main recommendations, and they will take you far:

First, if you’ve not encountered them before, read about the rule of thirds and the rule of odds . These will offer a fantastic compositional starting point for beautiful still life shots, plus they’re really easy to use.

Second, just keep moving your items around.

This latter recommendation might seem a bit silly, but I promise: If you rearrange your objects enough, you’ll eventually hit on an arrangement that looks great. Don’t just settle for the first composition that you try – instead, test an arrangement, then evaluate it critically. Determine what you like and dislike about it, then make adjustments.

As you create different compositions, here are a few items to keep an eye on:

• Overly empty gaps (you generally want to keep the entire arrangement balanced!)
• Busy areas (you don’t want to confuse the viewer with too much activity)
• Movement between objects (aim to lead the eye from one object to the next)

Remember: A tiny tweak can make a huge difference. So if an arrangement doesn’t seem perfect, make a few changes. Chances are that you’ll soon hit upon a better setup!

Tips and tricks to improve your still life photos

Now that you’re familiar with the basics, let’s dive into some of the higher-level aspects of still life photography, including subject selection, different lighting directions, and more!

1. Look at the work of great still life photographers

It’s a valuable practice to study the work of great still life photographers online. By observing their photos, you can learn about the different ways to arrange elements, and you can even find inspiration for new subjects.

But don’t limit yourself to photography alone; look at the world of painting as well. Masters like Cezanne offer a treasure trove of lessons on composition, balance, and the use of color. The way these painters arranged objects, used light, and chose colors can translate into unique insights for your photography. A painter’s eye for composition can open new doors for your creativity.

Learning from others can be an exciting and enlightening process. While it’s important to develop your unique style, the techniques and ideas you glean from observing the masters can enhance your skills.

2. Experiment with sidelighting

Sidelighting is a powerful tool in still life photography. By ensuring that your light source is hitting the subject from the side rather than the front or back, you add shadows that improve a sense of three-dimensionality. The play of light and shadow brings depth and drama to an image, allowing ordinary objects to appear extraordinary.

A 45-degree angle is often a fantastic starting point for sidelighting. It offers a balanced blend of light and shadow, producing a visually appealing effect. Don’t be afraid to play with different angles and light sources; experimentation is key to finding what works best for your particular setup.

Realize that the angle of light can drastically change the mood and appearance of your photograph. By embracing the experimentation and understanding how sidelighting works, you add an essential tool to your still life photography toolkit. It’s a step towards creating more engaging, eye-catching images.

Bottom line: Whether you’re using natural light from a window or an artificial source, sidelighting can become your go-to option for stunning still life shots.

3. Pick items that interest you

Still life photography beginners often struggle to pick a subject and get started. But in truth, there are no “best” still life subjects, so there’s no need to stress! Ideal subjects are simply items that interest you , and they can come from anywhere, including:

• Around your house
• Flea markets and thrift stores
• Estate sales
• The grocery store
• The florist

Of course, the words “still life” generally conjure up visions of vases of flowers, pears on candlelit tables, old paper, and violins. And you can certainly capture beautiful still life shots by obtaining and arranging these “classical” items.

But you don’t need to spend time pursuing such images if they don’t interest you. Instead, ask yourself: What is meaningful to me ? What objects do I love? Is there a story I would like to tell with my still life?

Alternatively, you might look for items that simply catch your eye. This next shot contains a piece of dried seaweed on some calico. Was the seaweed meaningful to me? Not really. Did it tell a story? Nope. It simply looked beautiful, so I wanted to capture it!

Finally, you can capture “found” still life arrangements – that is, still life arrangements that already exist (in houses, backyards, or on the street). Here’s a found still life, taken of a friend’s bedside table:

When picking still life subjects, here’s my final piece of advice:

If you’re stuck, just find some items that are personal and important to you, such as:

• Family heirlooms
• Pictures containing relatives
• Books that you love

Then, after a bit of arranging, you’ll capture a still life that’s loaded with meaning!

4. Work with a theme

Still struggling to pick the right still life photography subjects? Then I highly recommend working around a single theme.

Themes are an essential aspect of still life photography that can add depth and coherence to your images. They help you move beyond randomly selected objects and push you to think about the mood and meaning you want to convey. Whether it’s a color, season, or concept, a unifying theme can drive creativity.

For example, if you choose a theme around the color blue, you may gather items like blue glassware, a blue scarf, or blueberries. The consistent color palette not only creates visual harmony but also allows you to explore various textures and shapes within a specific color family.

Themes also help in storytelling. A setup focused on a seasonal theme, like autumn, can evoke feelings of warmth, change, or nostalgia. From leaves to pumpkins, selecting objects that resonate with the chosen theme helps in creating visually compelling stories that speak to the viewer.

5. Carefully select a background

The background can make – or break- your still life. If you want great results, you must choose your background with great care.

Specifically, don’t choose a background that features distracting elements. Avoid eye-catching colors that draw the eye, and if you use fabric, make sure you iron it first (few things are more distracting than a wrinkled backdrop!).

Instead, keep it simple. Fabric, cardboard, and existing walls often work great, provided that they’re relatively plain. The goal is to emphasize your still life subjects (so the viewer knows exactly where to look).

Here’s an image featuring a plain backdrop made from a couple of old potato sacks:

And here’s another shot, this time featuring a sheet of red fabric:

Also, experimentation is important! Different background textures and colors can complement your subjects in different ways, so it pays to test out a few options before deciding on a final arrangement. You may be surprised by the backdrops that make your still life really pop.

And while I generally do advocate using a narrow aperture and a deep depth of field when starting out, over time, you might want to try experimenting with focus and depth of field . You can create a shallow depth of field effect – where you keep the front element sharp and the background blurry – for more artistic shots. It’s a trick that can also come in handy if you like the background but find it a little too conspicuous.

6. Try light painting for creative still life shots

Light painting is a thrilling technique that allows you to “paint” with light. It involves setting your camera to a long shutter speed, usually in the range of 10 to 30 seconds, and then moving a flashlight or candle around your subject during the exposure. The result can be mesmerizing.

One of the great things about light painting is that it enables you to have greater control over your lighting without investing in expensive strobes and softboxes. You can create unique effects and highlights exactly where you want them. All you need is a dark room and a source of light, such as a flashlight, candle, or even a glow stick.

Experiment with different light sources, movements, and exposure times. You’ll soon discover a whole new world of creative possibilities. Light painting can add depth, character, and flair to your photos, making it a valuable technique in your still life photography toolbox.

7. Consider using artificial lighting

Once you’ve mastered basic still life lighting using natural sources like windows or candles, you may wish to explore artificial lighting for more control. Studio strobes, speedlights, or continuous LEDs are common options, and each has its advantages.

For those just starting, speedlights can be an affordable choice. They are portable and easy to use but still deliver excellent results. Strobes, on the other hand, are more powerful and include modeling lights so you can see the lighting effect in advance.

Whatever your choice, softboxes are essential. A bare flash will result in harsh and unflattering light. Softboxes diffuse the light, making it softer and more pleasing to the eye. They come in various sizes and shapes, allowing you to fine-tune the lighting effect to match your vision.

Artificial lighting may seem intimidating at first, but with practice, you can use it to create stunning still life photographs. From generating specific effects to offering complete control over the intensity and direction of light, artificial lighting opens up a new realm of creativity. It’s an investment not just in equipment but in expanding your artistic capabilities.

8. Shoot from different angles

The angle you choose to shoot from can dramatically alter the look and feel of your still life photograph. While it’s common to start with a standard frontal composition, experimenting with different angles adds richness and variety to your portfolio.

Moving to the right or the left, shooting from above or below – these choices offer new perspectives on familiar subjects. Even slight adjustments in camera height can change how a setup is captured. Higher angles can amplify depth, making objects appear more spread out, while lower angles can give a greater sense of intimacy or grandiosity.

Experimentation is key here. There are no rigid rules, so feel free to explore various angles until you find what resonates with your subject and theme. Try photographing a bowl of fruit from directly above to emphasize shape and pattern, or shoot a vase of flowers from below to give it a towering, majestic appearance. The creativity of angles is in your hands.

9. Make sure you spend time editing your still life photography

Post-processing can make a huge difference to your still life photos, so I highly recommend you spend time editing your images in Lightroom, Photoshop, Capture One, or some other program.

Start out with basic adjustments, such as white balance, exposure, contrast, and saturation. Then, as you become more experienced, play around with more advanced options.

Consider doing HDR photography , where you take several images at different exposure levels then blend them together in Lightroom. Or use Photoshop to add a beautiful texture to your image for a painterly look:

How to create stunning still life photography: final words

As you’ve discovered, the world of still life photography offers a vast playground for creativity, exploration, and skill-building. By working with themes, you can craft images that are not only visually stunning but also filled with depth and story. Shooting from different angles adds another layer of expression and offers endless possibilities for capturing ordinary objects in extraordinary ways.

Remember to embrace the tools and techniques outlined, and practice to see how they transform your still life photography. The joy of creating mesmerizing still life photos isn’t reserved for professionals; it’s within your reach.

So experiment with lighting, composition, and editing. Have fun! Enjoy yourself! You’re bound to end up with some stunning photos.

Now over to you:

What type of still life photos do you plan to take? Which of these tips are your favorites? Share your thoughts in the comments below!

Read more from our Tips & Tutorials category

is an Australian photographer working mainly in the areas of portraiture, fine art, and for the local press. Her work has been published, exhibited, selected and collected – locally, nationally and internationally, in many forms. All shot with very minimal gear and the photographic philosophy that it’s not so much the equipment, but what you do with it. You can see more of her work at www.leahawkins.com

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Improve your still life photography with 10 tricks of the trade

Some incorporated timely props like toilet paper or masks, while others made painterly tableaux with flowers, fruits, or seashells.

This appreciation for still life photography continues to flourish, filling our social media feeds with vibrant images that capture the beauty of objects we ordinarily overlook, from the bread in our pantries to the fallen leaves in our backyards. The great thing about the genre is that it gives us an excuse to let our creativity roam free, whether we’re experimenting with food, items collected from nature or handmade props.

We asked six artists to tell us their secrets for making unforgettable still life images. Read on for ten of their best tips.

1. Experiment with light

Light is everything in still life photography, but as the Moscow-based artist Julia Potato explains, it doesn’t have to cost a fortune. “You don’t necessarily need professional lighting for still life photography,” she says. “You can always use natural daylight from a window. It’s even easier to shoot a still life right outside.”

While natural light is the easiest to navigate, there’s no rule that says you can’t use whatever you have on hand. “You can even use a camera flash,” Julia says. “To soften the light, cover it with white paper or point it at the ceiling to diffuse it. Feel free to experiment: try shooting a still life under the light of a projector or table lamp. Even a smartphone flashlight can be suitable for illumination.”

2. Use the colour wheel

“Don’t be afraid of colour,” Julia urges. “Combine two, three, or 100 colours. It is the colour that determines the nature of the photograph, and that still applies to black and white photographs. Use colours of the same hue for a monochrome look, or combine an insane amount of them in one photo.”

Whether you’re using one hue or ten, Julia recommends consulting the colour wheel to make sure they all harmonise. Analogous colour schemes or split complementary schemes can work well if you’re working with three or more colours. The more complicated the palette, the more essential the colour wheel becomes.

3. Collect unique props (or make your own)

One way to make your work stand out is to choose props others might overlook. “When looking for props, I find the best place to go is into nature or vintage stores,” the Vancouver-based photographer Sophia Hsin explains. “I love old and textured objects that tell a story. If I find something difficult to source locally, I usually find a way to make it myself.” Prop inspiration and the start of your collection can often be found close to home.

“For photographers starting out, you really have to love it, commit to it, and hold it loose, so creativity has room to breathe,” Sophia adds. “For me, I do a lot of things outside of photography that may not always be related but do a lot to enrich my creative work. Live a rich life; be curious; learn to notice beauty; see a little deeper, build relationships. I think those are all good practices.”

4. Embrace unexpected combinations

“I like to use everyday objects in my still lives,” the Buenos Aires-based photographer Magali Polverino tells us. “I enjoy going to supermarkets and trying to find beauty in the ordinary: sponges for cleaning the dishes, cheap soaps, baked goods. I then combine these conventional items with objects that have nothing to do with each other. It could be flowers, some object found at an antique fair, or some fabric with a texture and colour that I like a lot. When you combine things that are never found together in real life, new worlds appear.”

“When you combine things that are never found together in real life, new worlds appear.”

5. Make a plan

“When you’re preparing for a shoot, draw sketches,” Julia suggests. “Write down your thoughts, and collect photos from other artists that are similar in mood. Lay out the props before shooting so you’re organised. Improvisation is not always good, especially when creating complex compositions.” Your sketches don’t have to be perfect; they’re just there to guide you and help you stay on track.

6. Learn to simplify

“Props help to create a story, but always make sure to avoid adding too many props in a single frame,” the Chennai-based photographer Preeti Tamilarasan explains. “This can easily distract and take the viewers’ attention from the main subject.” With that being said, one or two props can go a long way, as long as they’re well-chosen. “I’m a prop-a-holic and try to find unique antique/vintage props for my visual stories,” Preeti adds. “I belong to south India, and most of my props are sourced from Karaikudi (Tamilnadu, India), and I sometimes purchase from online antique retailers.”

7. Move around

“I like to move around the subject and see how the light hits it from different angles first and then build the composition from there,” Aimee Twigger of Twigg Studios in Devon tells us. “Framing can make an image, so after lighting, that is the next thing I think about. Once I have the composition in mind, I style the scene and add props to help with the composition.

“I use props often to reinforce or point to the most important element in the shot. Think about angles and the direction things are pointing. Similar shapes, sizes, and the number of items can help with the composition too. Odd numbers look better, so if I am shooting something with an even number, I like to crop some off. I love to have some negative space in the image as well.”

“Odd numbers look better, so if I am shooting something with an even number, I like to crop some off. I love to have some negative space in the image as well.”

8. Go conceptual

One overlooked aspect of still life photography is its ability to capture a particular moment in time, so think about the message or idea you want to convey. “I like to explore topics that are relevant to me as well as the global public,” Julia says. “You can speak to today’s problems and their solutions in a still life. Make complex things simple. It could be the pandemic, human rights, ocean pollution, or something else.” She’s explored the latter through a series of still lives made with ocean plastic collected on the beaches of Thailand.

“You can speak to today’s problems and their solutions in a still life. Make complex things simple. It could be the pandemic, human rights, ocean pollution, or something else.”

9. Make it yours

“The best advice, and what I try to do every time, is to use elements that are very much your own,” Magali tells us. “It could be something from your culture or your country or simply objects with colours or textures that you like a lot without knowing the specific reason. In this way, you make your work personal and true to your identity.”

10. Refine your style

This tip is a natural extension of the one before it; as your identity and surroundings start to inform your approach, you’ll develop a kind of artistic signature. Lean into that. “Be true to your style and aesthetics,” the Vilnius-based photographer, art director, and set stylist Martyna Paukštė advises. “It’s important to respond to your clients’ needs and stay on top of what is relevant now, but you also want to combine those things with your point of view and style.

“It could be just one small detail. For example, props and objects which recur in your projects. Or concepts and themes which are dominant in your work and true to your beliefs. It could be your choice of lighting, compositions, or even colour palette. That way, after some time, you will be noticed, recognised, and sought after for your unique aesthetic.”

About the contributor

Feature Shoot showcases the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects, with contributing writers from all over the world.

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The Photo Argus

Fresh photography ideas, useful tips and creative inspiration.

Still Life Photography: Capturing the Beauty of Everyday Objects

October 17, 2023 · Leanne Allen

Still life photography is a captivating genre that allows beginner photographers to explore their creativity, composition skills, and attention to detail. It involves arranging and photographing inanimate objects to create visually appealing and meaningful images. Today we’ll cover the basics, equipment, composition, lighting, and tips to help you create stunning still life photographs.

Getting Started

You don’t need fancy, expensive gear to start with still life photography. A basic camera with manual settings will do just fine. Here are some essential equipment and tools:

Camera: A DSLR or mirrorless camera provides more control over settings, but a smartphone can also be used effectively. This beginner’s guide written by photographer, Stacey Hill, is the perfect start to delving into still life photography.

Tripod: A sturdy tripod is crucial for maintaining stability and eliminating camera shake, especially in low-light conditions.

Lenses: A prime lens (e.g., 50mm or 35mm) is an excellent choice for beginners due to its versatility and sharpness. In this article, Jon Phillips discusses prime lenses, their characteristics, and how they compare to zoom lenses.

Backdrops and Props: Select backdrops and props that complement your subject and the mood you want to convey. Lighting: Natural light is a good starting point, but consider investing in a simple lighting setup, such as a softbox or diffuser, for more control. To learn more about lighting in still life photography and the role it plays, check out this article here .

The Art of Arrangement

Composition is key in still life photography. It’s about arranging your subjects in a visually pleasing manner. Here are some composition techniques to keep in mind:

Rule of Thirds: Divide your frame into a grid of nine equal parts, and place your main subject at the intersections or along the lines. Photographer, Jo Plumridge, shares her insights on this composition rule and the best times to use it, here .

Balance: Create balance by distributing visual weight evenly across the frame. If your subject is on one side, bring balance with another element on the opposite side.

Leading Lines: Use lines in your composition to guide the viewer’s eye toward the subject. This adds depth and visual interest. To learn more about leading lines and how they lend themselves to composition check out this article here .

Framing: Using objects in the foreground or background to frame your subject will draw attention to the right places.

Negative Space: Leave empty spaces around your subject to emphasize it and create a sense of simplicity and elegance.

Using Lighting to Shape the Mood

Lighting is perhaps the most critical element in still life photography. It sets the mood, highlights details, and creates shadows. Here are some lighting options to consider:

Natural Light: Soft, diffused natural light from a window can create beautiful results. Try experimenting with different times of day and angles.

Artificial Light: Use artificial lighting, like studio lights or lamps, to have full control over your light source. Soften harsh light with diffusers or reflectors if required.

Backlighting: Position your light source behind your subject to create a glowing effect or a beautiful silhouette.

Side Lighting: Light your subject from the side to create shadow and depth in your photos. Check out this article by author, Jon Phillips, discussing the different types of lighting in photography, and how we can use them.

Remember, still life photography is not solely about the objects you capture but the stories, emotions, and moods you convey through your images. Experiment, practice, and don’t be afraid to make mistakes along the way. The more you explore this captivating genre, the more your skills and vision will grow.

Further Readings

Explore the art of still life photography with Photzy’s Beginner Still Life Photography Extended Case Studies . These 52 pages offer invaluable insights into beginner-level techniques and examples, helping you grasp the nuances of this captivating genre. Dive into specific scenarios you’ll encounter during your shoots and fast-track your learning with concise, no-nonsense content. Don’t miss this opportunity to expand your photography skills and unlock your creative potential. Check out Photzy’s Beginner Still Life Photography Extended Case Studies here .

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What is still life photography? Definition, examples and set-ups explained

Still life images are one of the oldest genres of photography. find out how you can make great images from the comfort of home.

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Tuesday January 31, 2023

By Jeff Meyer

Not everyone has the money to jet off to exciting locations to take photographs, or even the time to go exploring their local area with their camera. Thankfully, though, great images can be made in the comfort of home with no more than a few, simple everyday household items and a little imagination. Still life photography has been practiced for as long as shutters have been opening and closing. In fact, still life images were among the first photographs to be made back in the early days of photography.

It’s important to understand what still life photography is, however.

What Is still life photography?

Still life photography is a genre of photography that focuses on capturing inanimate objects. It is typically done in a studio setting and involves carefully arranging objects for the purpose of creating a visually appealing image. Still life photography is often used to create art, to sell products, to document objects for scientific research or for other commercial purposes.

What separates still life photography from general scenes with inanimate objects, such as a forest view, is that still life photographers have more time and control over the variables. The best still life photos are those that mix an interesting composition with nice lighting to emphasise the shape, form, colour, texture, light and shadow of a subject.

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What are the best still life subjects?

The best still life subjects are typically objects that have character or an interesting shape. Objects like cutlery, rusty tools, glass bottles, flowers and fruit are all time-tested and oft-photographed still life subjects.

If you’re shooting a still life for this first time, try starting with a subject that’s simple – something like fruit or coloured pencils are great for this. Then play around with light. You can use natural light from a window or even simple table lamps to create a more dramatic light effect.

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Definition of still life photography

The definition of still life photography is the art of taking pictures of inanimate objects. These objects are usually arranged in a creative way to create an aesthetically pleasing image. The objects used in still life photography can be anything from food, flowers and plants to books, bottles and other everyday objects. The aim of still life photography is to create an image that captures the beauty, simplicity and detail of these objects.

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History of still life photography

The history of still life photography dates back to the early 19th century, when photographers began experimenting with the genre. At the time, still life photography was primarily used for scientific purposes, such as documenting plants and animals for research. In the late 19th century, still life photography began to be used for commercial purposes, such as advertising products.

In modern times, still life photography remains a popular form of both product photography and creative expression.

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Types of still life photography

There are several different types of still life photography. These include product photography, food photography, flower photography, abstract photography, and table-top photography. Product photography is used to showcase products, such as electronics, jewelry, and clothing. Food photography is used to capture the beauty of food, such as cakes, pastries, and dishes. Flower photography is used to capture the beauty of flowers and plants. Abstract photography is used to capture shadows, reflections, and patterns. Table-top photography is used to capture small objects, such as jewelry, coins, and toys.

Still life photography set up

The set up of a still life photography session depends on the type of photography being done. Generally, the photographer will need a backdrop, lighting, and the objects to be photographed. For product photography, the photographer will need a plain white or black backdrop and studio lighting. For food photography, the photographer will need a plain white background, natural light, and props such as plates, dishes, and utensils. For flower photography, the photographer will need a light box and natural light. For abstract photography, the photographer will need a dark background and studio lighting. For table-top photography, the photographer will need a small light box and studio lighting.

Examples of still life photography

Some of the best still life photography examples can literally be anything! Still life setups are used to capture a variety of objects, such as food, flowers, plants, books, bottles, furniture, toys and everyday objects. Some classic examples of still life photography include a bowl of fruit, a freshly-brewed cup of coffee, a single rose, a bouquet of flowers, an ornately set table, even a collection of books or magazines. Still life photography can also be used to create abstract images, which make creative use of shadows, reflections and patterns.

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Home » Still-life photography – How to take perfect still-life photos

Still-life photography – How to take perfect still-life photos

We show you how to master the art of turning ordinary objects into interesting subjects..

Still-life photography is a great subject for both the experienced and amateur photographer, whether shooting macro, miniature, food or products etc. . Claire Gillo reveals her top tips for perfecting the art of still-life photography.

Simply put, still life is about photographing inanimate subjects, and puts the photographer in control of every aspect of the image, from composition to lighting. It’s all about mastering the art of composition and light to make an ordinary subject appear more interesting.

From a beginner’s perspective, it means you can really take your time with composition and experiment with different lighting techniques . For the more experienced photographer, still life gives the opportunity to push the boundaries of creativity and originality.

Which subjects lend themselves to still-life photography?

A great place to start is with food , because it varies in shape, texture, colour and size . For inspiration, study the classics such as Edward Weston ’s pepper and cabbage leaf from the 1920s, or still-life images by Edward Steichen from the same era. Fruit and vegetables shot against a dark backdrop are a great place to begin.

Plants and organic matter such as shells and bones are also incredibly popular with still-life photographers as their shape and form are a subject in their own right. Again, for historical inspiration, Imogen Cunningham ’s botanical studies are a good place to begin, as is Edward Weston’s Shell.

Man-made objects such as toys , clothing , and vintage objects like cameras or shoes also make great subjects. In the end, still-life photography can be anything you want it to be – there are no strict rules. For example, some still-life photographers may choose to bring in a hand to the corner of the frame (this works well in food photography) or create a wisp of steam or smoke above a subject.

How do I photograph a still-life photography setup?

The minimum you need to shoot a still-life setup is a camera, lens, tripod, and subject . Although some lenses are better suited to the genre than others – such as a 50mm or 85mm – there aren’t any rules when it comes to lens choice. Your subject and composition will determine the focal length you use.

A tripod is an essential kit for still-life photography as you need to take your time when composing. Also, if shooting with natural light , the chances are you’ll have a slow shutter speed, so a tripod will be necessary for this, too.

When composing your shot , think about where and how your subject sits in the frame and whether you are to introduce other items. In some circumstances, additional props and accessories can enhance a shot: at other times less is more.

In dressing your shots and balancing composition, try to lead the eye through the frame . This can be achieved through the use of negative space – where the space is the emphasis – or objects is up to you and something that can take practice.

Sometimes I place props in the corner of the frame or along an edge to hold the eye in. When it comes to composing still-life scenes the rule of thirds is useful to start with; however, as we all know, rules are made to be broken and sometimes a symmetrical composition can be equally effective. You need to experiment with this and this is why it is useful to have your camera set up on a tripod.

Learn how to set up a still life studio, and how to take product shots for eBay.

What is the best lighting for still-life photography?

Lighting is another consideration when setting up your still-life photoshoot. If you are new to photography, we suggest keeping it simple and using natural light .

A large window and a reflector or tinfoil wrapped around a piece of card (to bounce light back into the shadows) are all you need to create an effective setup. For those who have more experience, you may want to bring in external speedlight/s or studio light/s depending on the effect you seek.

Finally, for your still-life setup, you also need to think about the background . Are you going to shoot your subject in its setting? Or are you going to drop a background in behind/underneath your subject and what will that do for the image? Are you going to shoot indoors or outdoors and what does this add or take away from your shot?

Where and how you place your still-life subject is what makes or breaks the image. For example, a piece of plastic washed up on the beach photographed on the sand might not look as interesting as if you took that same piece of plastic and photographed it against a black background with studio lights. Textured or plain backgrounds of all different colours and appearances can work effectively if used in the right way.

What camera settings do I need for still-life photography?

To take great still-life setups, the most important setting on your camera is the aperture . This controls the depth of field and determines how much of the subject is sharp and how much is soft. It is something that you will need to experiment with, depending on your setup.

Also, keep in mind, the closer you are shooting, the shallower the  depth of field . For example, in a landscape setting if your focus point is set at infinity and the aperture is set to f/11, the whole scene is likely to be sharp from front to back (if you have a foreground object this may blur depending on how close to the camera it is, but you get the gist!).

However, with still life, when you shoot close up, even with an aperture set at f/11 it is likely that your subject will have some blur (how much is determined by a number of factors such as how far you are from your subject and your lens choice). If you want the whole of your subject to be sharp, you will need to explore a technique called focus stacking , which is where you shoot your subject at different focal points and then edit the images together.

Top tips for still-life photography

1. low-key lighting.

One technique that lends itself particularly well to still-life is low-key lighting . Low-key lighting often only uses a single light source , and as the name suggests this isn’t a powerful burst of light over your subject, but rather a subtle and soft wash of illumination that falls across it. Natural light or reflected light can work well for low-key lighting. A dark background will also help you create a more atmospheric result.

2. High-key lighting

If you want a light and bright image, try using high-key lighting. You can use natural light or artificial light to achieve this look. The trick with high-key lighting is you want to create minimal shadows and use a large, wide light source . This effect works particularly well when shot from a bird’s-eye view, as in the example here.

3. Backlighting

Backlighting is when you light your subject from behind. The idea is to create a fringe or outline around the edge of your subject to highlight its shape and form . In the case here, it’s a dried-out hydrangea. To take this image I used a single flashgun and placed it behind my subject. This creates a silhouette effect. If you want your subject to be lit as well, use another light at the front.

4. Play with the shadows

For intentionally harsh shadows, create a hard lighting effect . Flash is the easiest way to create this effect as you have full control over its intensity and direction . In this example, the light was placed to the side of the skull.

5. Background choice

Your still-life’s background drastically alters the overall impact on your image. In this example, a vinyl backdrop creates the perfect setting to show off this vase and flowers . Even the wooden table effect underneath is a vinyl sheet.

6. Bokeh backgrounds

An easy way to create a twinkling and atmospheric background is to use fairy lights . To create this effect, I simply lit the main subject in the foreground using natural light and then bunched some fairy lights in the background around a metre away. By opening up the aperture on my camera, the lights in the background transformed into the perfect twinkling circles.

Still-life photography kit list

For still-life photography, your lens choice will be determined by your subject. One of my favourites in my kit bag is my Sigma 50mm f/1.4 DG HSM Art , which produces excellent results. For most of my still-life images, I work between 50mm and 100mm.

A tripod is an essential part of my kit for my still-life shoots. Whether I shoot with natural or flash, I always use a tripod. Not only can I keep tweaking the composition of my frame when my camera is on a tripod, I can also adjust the light and camera settings until everything is perfect. In my kit bag I have the Manfrotto 190go! with the XPRO Geared three-way pan/tilt tripod head . The tripod comes with an interchangeable centre column, and the three-way tripod head can be finely adjusted.

In my kit bag, I have three Nissin Di700A flashlights and three PixaPro LUMI 400 II 400Ws Studio Flash lights and accessories. The subject determines what setup I use. For any close-up work, my Nissin Speedlites are more than powerful enough to get great results.

4. Backdrops

From twinkling fairy lights in the background to textured or plain pieces of card, I have a wide selection of backgrounds that I use for my still-life setups. Some of my favourite textured backdrops have been bought from Black Velvet Styling .

Related reading:

• Macro still life photography masterclass
• Still life photography with continuous lighting
• More still life photography tips
• How to shoot floral still lifes

Read more articles by Claire Gillo:

• Best cameras for portraits and portrait photography
• Best full frame mirrorless cameras
• How to make money from photography and sell your photographs
• Fine Art Photography Guide: how to do it

Follow AP on Facebook , Twitter , Instagram , YouTube and TikTok .

Claire Gillo is a creative brand, commercial product and event photographer based in South Devon. She shoots all types of genres from portraits, music, interior, product to food & drink. Claire has much experience in the publishing industry too, and has worked across many of the big photography magazine publication titles from Amateur Photographer to Digital Camera. Find out more about her at www.clairegillo.com and follow her on Instagram @clairegillophotography.

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Photography

Still Life Photography

Introduction.

For this assignment, I am going to research still life photographers such as; Jenny Van Sommers and   Lorenzo Vitturi . I will then produce my own work, develop it and finalise an idea before I create my final series of photographs and display them in a Triptych style.

Research – Jenny Van Sommers

I would like to analyse 2 photographs of her work because it relates to my project of still life using similar techniques to produce a well executed image.

Vogue Frozen

(Above) is the first image of Jenny’s that I am going to analyse titled Vogue Frozen .

The photograph is equally divided up into different segments, with the top of the frame clear, mirroring the bottom, with the lower half of the image darker than the top. Slightly off to the left, just off centre, is a sphere resting on what looks like to be a frozen plinth, slightly cracked from the top running down to the middle making you believe it might actually be an egg of some kind.

The texture of the frozen rectangle plinth has a frosty texture and a similar IOR (index of refraction) to that of glass.

Towards the lower third of the photograph, coming in from both the left and right of the frame there is a cloud, fog like mist that is about to cover the bottom of the frozen plinth. The textures in the cloud make it look very soft but also delicate.

I particularly like the lighting within the photograph because it displays a minimalistic and subtle style to the image which gives it more impact just an egg standing on a plinth. In my opinion, I think that this is a powerful photograph which has impact due to the lighting and scene set up, adding a dramatic and impressive mood throughout the image.

Wood Sphere and Paper

This photograph (above) is titled  Wood Sphere and Paper, is one of a series of photographs taken similar to this. In this photograph, you can see that there is a Wooden Sphere on the left of the frame with a piece of scrunched up paper on the right.

As this photograph is also in monochrome it adds a strong contrast of light and dark throughout the image. Because of the monochrome effect, the textures on both the wooden sphere and the paper are enhanced adding more variation to the image. The scrunched up paper looks very harsh in comparison to the wooden sphere which has far less harsh curves and dramatic vertices within the object.

I do however, like the comparison of soft and harsh shown using two different objects as it demonstrates how the same light source can display both ends of the spectrum of harsh and soft.

This photograph (above) is titled Vogue Soap. In the photograph, you can see two rectangle blocks of soap standing on top of each other with another rectangle piece of soap standing upright on the left with a cylindrical piece of soap on the right. Above the pieces of soap, there are bubbles ascending up towards the top of the frame of the photograph.

The colors within the photograph are very vibrant with strong yellows, oranges and reds in the soap and a multi array of colors within the bubbles.

There are also lots of different dark and light elements throughout the pieces of soap that create different tones within the image enhancing the depth perspective within the photograph. I like the textures within the soap because it gives the image more structure and character than just plane soap.

In my opinion, I like the photograph because of it composition, textures and colours that are shown throughout the photograph to produce a vibrant and dynamic still life image.

Research – Lorenzo Vitturi

I would like to analyse some of the photographic work created by Lorenzo Vitturi. Lorenzo Vitturi is a London based artist where his work is established from found debris in the market streets of Dalston, east London. I am most interested in his still life photography work of fruit, assembled into different sculpture like forms.

(Above) is a photograph of pieces of fruit arranged as a standing sculpture. As we know that the pieces of fruit are collected from a rubbish dump, this is evident from the different textures, colours and form of each particular piece of fruit. Every fruit in the scene looks far from new or fresh but in fact dead or dying.

As the main subject of the photograph is the fruit, you can help but notice the setting that the photograph was taken in as well, with a grotty wall in the background and a rough ground surface that the fruit are standing on

Without any previous knowledge, you can tell that this photograph has a dying theme.

I predict that Lorenzo would of set up the fruit scene by attaching pieces of string or wire to the fruit and hung them from the ceiling or high vantage point and then erased out during editing. This would have allowed him to photograph the fruit in mid air creating the illusion that they are floating

The colors within the photograph are mostly dark and dingy, with little vibrancy however, the red pieces of fruit do stand out to have the most vibrant and vivid response to the rest of the colorless scene.

Overall, I like this photograph because of the textures and colours throughout the scene creating depth like the fruit are floating in mid air. The lighting within the scene is also very appropriate, creating and enhancing the textures and contrast throughout the setting.

(Above) is another photograph taken by Lorenzo Vitturi. This photograph is following the same theme as the last with food being the center focus but the stand on which the objects are situated on are on what looks to be a brick and some wiring something that creates contrast with the colorful food objects.

The lower half of the sculpture is a very vibrant red colour while other elements are either a subtle green or browns. The background of the photograph is of a blue wall with the upper section orange.

Like the previous photograph, it does display lots of different textures that make up a complex scene contrasting with the vibrant colors sure as the reds against the browns.

I like this photograph because of its subtle contrast or vibrant against dark and grotty colors evident in it being a brick with colorful food.

 Next Steps

After conducting the above research on Jenny Van Sommers and  Lorenzo Vitturi,  I believe that it is important that I focus on the composition of each photograph so that each image looks seamless and not out of place. The concept of the idea is also important especially if I would like to connect each image with one another.

Photo Shoot

For this photo shoot, I would like to photograph three different images of an orange. the first image is of the orange whole, with its skin on. The second photograph is of the orange peeled and half eaten and the final photograph is of the orange fully eaten with just the remaining orange peel on the ground.

I will be photographing the fruit using a Canon DSLR with a ——- lens to create a shallow depth of field. I will create my own backdrop of the scene and use a bedside light to light the scene accordingly.

One of the most important factors about this photo shoot is keeping the camera in one position and only moving what is in the shot, making sure what is not supposed to move stays in one position.

Below is a contact sheet of the images that I took.

From these 19 images I took, I picked 3 to further develop (below).

I wanted to produce a simple theme throughout all three of the photographs. I did this by keeping the location of the orange in the same place, on the same background with the same lighting setup and camera setting. The only elements that I changed were what actually happened in the scene. The first photograph is just of  an orange with lighting coming in from the left of the image. the shadow falloff is quite harsh but in my opinion, I like this contrast between the light and the dark on the fruit as it is like the fruit fades off into space, less so if there was a less of a falloff from the shadow.

The middle photograph is of a quarter of the same orange having been cut out photographed in the same position, scale and rotation. In the foreground of the image, you can see eight small chunks of orange peel. This lower third of the photograph is blurred because of the narrow depth of field that I used, using an F-stop value of F/5.6 with a focal length of 50mm.

The last photograph is of a pile of orange peels from the same orange with the stalk part of the fruit still at the top. I have also maintained the location of the previous orange peels in the scene to manage and continue the continuity throughout the triptych.

What I wanted to show throughout my triptych photograph was a figurative process of eating an orange throughout the different stages. I would like to create an edit of this triptych by erasing the boarders between each photograph and by enhancing the background of each image, improving the continuity throughout the triptych.

This is the edit that I have created using Adobe Photoshop. In the edit, you can see that I have erased the white boarder and replaced it with a less harsh grey boarder. Looking at the photograph, I believe, that a less harsh white boarder allows you to focus your attention onto the actual images rather than being distracted by the contrasting harsh white. This also keeps the photograph a triptych than merging it all into one.

In my opinion, I like this triptych because of its minimalistic style and theme . I also think that this enhances what you are actually looking at rather than getting distracted from a harsh white boarder.

I also think that researching  Jenny Van Sommers and  Lorenzo Vitturi  has had an influence on my work in regards to lighting and composition.

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• v.10(4); 2021 Aug

The visual vernacular: embracing photographs in research

Jennifer cleland.

1 Lee Kong Chian School of Medicine, Nanyang Technological University Singapore, Singapore, Singapore

Anna MacLeod

2 Division of Medical Education, Dalhousie University, Halifax, NS Canada

Associated Data

The increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are “digital natives”, asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the “linguistic imperialism” of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities.

Supplementary Information

The online version of this article (10.1007/s40037-021-00672-x) contains supplementary material, which is available to authorized users.

A Qualitative Space highlights research approaches that push readers and scholars deeper into qualitative methods and methodologies. Contributors to A Qualitative Space may: advance new ideas about qualitative methodologies, methods, and/or techniques; debate current and historical trends in qualitative research; craft and share nuanced reflections on how data collection methods should be revised or modified; reflect on the epistemological bases of qualitative research; or argue that some qualitative practices should end. Share your thoughts on Twitter using the hashtag: #aqualspace

Introduction

Smartphones, tablets, and other devices are increasingly embedded in everyday life, influencing how many people interact, think, behave and connect with other people [ 1 , 2 ]. Many people Whatsapp, tweet and text, and/or use Facebook, Instagram and Twitter for professional, social, educational and entertainment purposes. Images are increasingly accessed and used where words would have been used in the past. Indeed, more than 10 years ago, van Dijck [ 3 ] suggested that “digital cameras, camera phones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users.”

The increasing use of digital images for communication and interaction in everyday life has given a new lease of life to a source of research data long embraced by sociology and anthropology [ 4 , 5 ]. In contexts where smartphones are ubiquitous and with groups of “digital natives” asking participants to share and engage with photographs, this aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes [ 6 , 7 ].

This paper joins a long-standing conversation in the social science literature which advocates moving beyond the “linguistic imperialism” of text [ 8 ] to embrace visual methodologies. This conversation has relatively recently made its way into health professions education (HPE): for example, various authors have proposed video [ 9 ], video-reflexivity [ 10 ] and drawings [ 11 ] for research purposes. However, the use of still images or photographs in research remains niche to some areas of inquiry (e.g., exploring patient experiences, particularly mental health and experiences of serious illness (e.g., [ 12 – 14 ]) and some healthcare professions disciplines (e.g., nursing: [ 15 ])), and is an under-exploited approach in HPE research (see below for notable exceptions). Yet it is a method which offers many possibilities, particularly in respect to giving research participants more agency and power in the research process than is the case in traditional qualitative data collection approaches such as interviews.

In this paper, we discuss ways of using photographs in research, focusing on the use of photography within participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, as well as its unique strengths. We outline some popular approaches to analysing photographic data. We finish with a brief consideration of how photographs could be used more in HPE research.

The photograph as data

Photography has been described as a silent voice, another language to communicate with and understand others, and a way of accessing complexities which may not be captured by text or oral language [ 16 ]. As instances of Latour’s “immutable, combinable mobiles” [ 17 ]—literally things which do not change but which carry action and meaning across time and place, as objects of memory and of relationship—photographs allow us to see what was “happening” at a particular point in time.

Photographs can be a source of data (photo-documentation and existing images) and a tool for eliciting data (photo-elicitation and photovoice). Each of these approaches are explained below.

Photo-documentation

Photo-documentation has been used in clinical medicine for nearly two centuries [ 18 ] Clinical photographs and images are vital for training purposes, to illustrate a clinical finding, steps in a process or procedure, or for comparative (“before” and “after”) purposes. They are an integral part of patient’s clinical notes in numerous specialties and are also used to offer the patient insight into realized or expected treatment results [ 19 ].

This way of using photographs—as objective records documenting an objective something—is quite different from how photographs are used in social science research. In fields such as sociology and social anthropology, photography has been used as a tool for the exploration of society [ 4 , 5 ]. Photographs help others understand how societies are culturally and socially constructed, to critically uncover the meaning people place on certain activities, places, things and rituals and to record and analyse important social events and problems. It is on this second use of photographs in research that we focus from this point onwards.

Existing images

A second way of using photographs in research is analysis of publicly available images: in other words, analysis of secondary (photographic) data. There are examples of this approach in medical education in relation to the messages given by images on public-facing documents and webpages, and how these might influence student choice of medical school [ 20 , 21 ]. Visual data is also used in research examining the relationships between architecture/space and learning [ 22 , 23 ]. Photographs can show us how people and things relate to each other. For example, what can we learn from a photo illustrating how staff are distributed around a coffee room, or around the table during a morbidity and mortality (M&M) meeting? Documenting the materials of a research space in a photograph serves as a mechanism for tracing the complexity of the field (see Fig.  1 and its accompanying explanation).

A photograph as an elicitation tool. Collected as part of a sociomaterial study to document the material complexity of simulation led by MacLeod. This photograph of a manikin in a typical simulation suite could serve as a useful elicitation tool in a study of simulation. Rather than asking research participants to use their memories to imagine a simulation suite, the photograph provides concrete detail, helping to reorient participants to the space. Rather than using a phrase like “simulation is complex”, the photograph serves as “evidence” of the complexity, documenting multiple non-human elements involved in a simulation at a particular time and place. This clarity can provide a jumping-off point for more detailed and specific conversations about the topic being studied

Photo-elicitation

In photo-elicitation (sometimes called photo production [ 24 ] or auto-photography), the specific area of focus is typically decided by the researcher. The photos are either taken by the researcher or participants.

In researcher-driven photo-elicitation the researcher decides on what people, objects, settings and/or scenes they find interesting or potentially important enough for a picture. These photographs are then used as prompts for discussion within an interview with the researcher. The photo(s) is a prompt to elicit data, akin to an open question in a semi-structured interview. Unlike interview or focus group questions however, participants not only respond to photographs with extended narratives but also supply interpretations of the images, drawing from and reflecting their experiences.

In participant-driven photo-elicitation, control of data collection is handed over to participants who have the freedom to pick and choose the representation(s) which is most salient to them in relation to the question under study. For example, to explore children’s experiences of hospital, Adams and colleagues [ 25 ] asked children to photograph architectural or design features that most interested them in a vast hospital atrium (the hospital’s primary non-medical space, full of shops, restaurants and so on). The children’s photographs were then used as the anchor to dialogue [ 26 ].

Participant-driven photo-elicitation empowers the participant to both choose the image and drive the dialogue about the image. Consider a picture of an alarm clock set to an early hour. This becomes meaningful only when the photographer explains that this image signifies their transition from student to first trained job. While the participant’s perspective on the transition to practice could potentially be accessed using traditional words-alone methodologies, photographs are different because they present what the participant felt was worthy to record, help capture the immediacy of the experience and stimulate memories and feelings. In other words, one of photo-elicitation’s strengths, and how it differs from interviews and focus groups, is its potential to collect data that not only taps into the perspective of the participant but does so at the time of the experience.

Images seem to prompt a different kind of reflection on lived experiences. Harper [ 26 ] suggests that images prompt emotions and thoughts in ways that narrative alone cannot. By seeing what they did, informants may help the researcher to better understand their behaviour. Moreover, by viewing and discussing photos together, the researcher and participant actively co-construct meaning. In this way photo-elicitation offers a way to potentially enrich and extend existing interview methodologies and give a combination of visual and verbal data for analysis purposes [ 27 ]. Furthermore, the act of interpreting an image creates a critically reflective space within the research process which is lacking in interview methods. Leibenberg suggests that “collectively then, images introduced into narrative research create important links that participants can use to more critically reflect on their lived experiences and to more accurately discuss and share these experiences with others” [ 28 , p. 4].

Arguably however, if the main source of data is not the photographs themselves but the transcripts from photo-elicited discussions, this may still privilege participants who are more skilled verbally—maintaining the “linguistic imperialism” of text, or, more accurately, of transcribed responses [ 8 ]. While this criticism cannot be wholly dismissed, the many empirical studies referred to in this paper suggest that photographs help make abstract ideas accessible and encourage reflection in groups which are less literate and who do not routinely engage in reflection. Moreover, there are approaches to data analysis which privilege the image, not the accompanying text (see below).

A specific research method within the bracket of photo-elicitation is photovoice. Developed by Wang and Buriss in 1997, photovoice involves asking community members to identify and represent their community through specific photographs and tell the stories of what these pictures mean, promoting critical dialogue and potentially catalysing social action and change [ 29 ]. Photovoice allows people to see the viewpoint of the people who live the lives, and as such is considered an example of participatory research [ 30 ]. For example, MacLeod et al. [ 31 ] asked adolescent youth to take photographs pertaining to the health of their community. The adolescents created a platform for discussion, and helped the researchers, who were medical students, learn about the community they were serving. Photovoice is often used to access and explore patient experiences, particularly mental health and experiences of serious and/or life-threatening illness [ 12 – 14 ].

The ease of taking photographs with a mobile phone has opened up new ways to utilise the photovoice methodology, particularly the method of “time-space diaries” [ 32 ] or digital journals. Participants record what is meaningful to them across time and activities, such as what and where they ate over a full day, or salient events in the first few weeks of medical school. Just like non-research social media activity, a series of images can provide insight into real, lived experiences and give participants a voice to reflect on their everyday lives on issues relevant to the research topic. Consider a resident taking pictures of things and people who were significant to their first experience of a full weekend shift. The nature of the images may change over time, reflecting exposure to different patients, working with different colleagues, task demands and fatigue.

In summary, the nature of photographs as data varies according to who produces them, whether they are independent of the research or created specifically for the research, how they are used in the research process and whether they are used in conjunction with narrative (verbal) data. These key decisions can be synthesised, according to Epstein et al. [ 33 ], into three basic questions:

• Who is going to make or select the images to be used in the interviews?
• What is the content of the images going to be?
• Where are the images going to be used, and how?

How photographs and accompanying narratives can be analysed is discussed next.

Data analysis

There are two main ways of approaching photographic data analysis. The first, the dialogic approach, focuses on analysing the verbal or written reflection on the content of photographs and what they symbolise. This approach is fundamentally constructivist, “locating visual meaning as foundational in the social construction of reality” [ 34 , p. 492]. Traditional ways of analysing verbal/transcribed data such as thematic analysis [ 35 ], content analysis [ 36 ], grounded theory [ 37 ] and various forms of discourse analyses [ 38 ] are appropriate for analysis of photograph-prompted dialogue. In this approach, the photographs themselves are usually used merely for illustration purposes, if at all [ 38 ].

Alternatively, the data can be within the photograph itself, separate from its capacity to generate dialogue and independent of any explanation. Photographs can provide new ways of seeing the phenomena under study from their visual features. For example, in their analysis of existing images on medical school websites and prospectuses in 2019, MacArthur, Eaton and Marrick [ 21 ] recorded information including gender, ethnicity, assumed role and setting, of each person on each image. They found a predominance of hospital-themed images, compared to few community-themed images. They concluded that these images signalled to students a strong preference for hospital-based settings, despite a strong national drive to recruit more general practitioners.

This approach to analysis is referred to as “archaeological” because images inherently reflect the social norms of a point in time. Consider your graduating class photograph. Clothes and hairstyles which were chic at the time may look old-fashioned and incongruous when viewed many years later. In this way, photographs contain “sedimented social knowledge” [ 34 , p. 502], manifest through the photographer’s choices of scenes, subjects, styles, compositions and so on. An educational example of this is presented in Photograph S1, found in the Electronic Supplementary Material (ESM).

Grounded, visual pattern analysis (GVPA) combines both approaches [ 39 ]. Via a structured, multi-step process of analysis, GVPA investigates the meanings individual photographs have for their photographers and also attends to the broader field (sample) level meanings interpreted from analysis of collections of photographs. Paying attention to absence (what is not photographed) is also important [ 40 ]. The analysis process ends by building conceptual contributions rather than purely empirical ones from the photographic data (see Photograph S2 in ESM).

Whichever analysis approach is taken, as with any qualitative research, it is important to consider quality and rigour in respect to the credibility, dependability, confirmability and transferability of the data [ 41 ]. Providing details of the sampling strategy, the depth and volume of data, and the analytical steps taken helps ensure credibility and transferability. Photo-elicitation allows participants to work with and direct the researcher to generate data that is salient to them, thereby increasing the confirmability of research outcomes. Allowing participants to clarify what they meant to convey in their photographs is inherently a form of member checking. As for all research, ethical considerations should be considered and addressed, as well as a clear statement made on formal research ethics committee approval or waiver. Thought must be given to the power relationship between researcher and participants and how this might affect recruitment, the nature of the data and so on. Reflexivity, reflecting on the extent to which similarities or differences between researcher and researched may have influenced the process of research, is particularly critical in photo-elicitation studies [ 42 ]. Keeping written field and methodological notes as well as a reflexive diary is important for dependability and confirmability.

Finally, in terms of data presentation, in our discipline most journals have a limit on the number of tables, figures and/or images allowed per paper, and most do not publish colour photographs. This limits the visual data which can be presented in an article. However, journals also offer the option of supplementary e‑files. We suggest that one or two pictures in an article can support key evidential points, with additional data made available electronically.

Ethical considerations associated with photographs in research

As with any method, care must be taken to ensure the proper use of photographs for research purposes. Here we briefly consider the main ethical issues of power, informed consent, anonymity, dignity and image manipulation. We direct readers to Langmann and Pick [ 43 ] for more in-depth discussion.

In any researcher/participant situation, there is a power dynamic that privileges the “expert” researcher over the object of study, the participant. Certain ways of using photographs in research, specifically photo-elicitation, can change this dynamic and empower participants by giving them an active role in the research process, making them the experts, and allowing the researcher greater insight into participant perspectives [ 29 , 30 ]. Photo-elicitation also gives those who are not verbally fluent another way to express themselves effectively, avoids the use of survey questionnaires and other research instruments that might be culturally biased, and places participants as equals—able to reflect and decide how they want to represent themselves visually [ 43 ]. Photo-elicitation is thus firmly rooted in an approach to inquiry that draws on Paulo Freire’s (1970) critical pedagogy [ 44 ] and fits within the broader participatory action research method [ 29 , 30 , 37 – 40 , 45 ].

The use of mobile phones for data collection is considered a way of connecting younger groups with research [ 46 ], connecting with populations in more remote and rural communities across the globe [ 47 ] and with “difficult to reach” populations (e.g., [ 14 ]). However, it is important to again acknowledge the “digital divide” and the associated power differential: marginalised populations and certain societal groups may not have access to equipment to take and share photographs. Where this is the case, the researcher must consider whether to supply the necessary equipment or whether an alternative method of data collection is more feasible.

Informed consent

Informed consent is particularly challenging with photographs. It is difficult to ensure that every person in an image has given their consent to the photo being taken and used for research purposes. Where images are participant-generated, clear instructions about the purpose of the research and the photographs, and the processes of ethical consent, are essential [ 48 ].

Confidentiality

Confidentiality is an issue, particularly if a photograph includes a person’s face. Faces can be pixelated or blurred to protect participants’ identities, but these approaches may objectify the people in the photo and make the photographs less powerful [ 48 ].

Our third point relates to dignity. Langmann and Pick [ 43 ] suggest three ways of considering dignity in research photography: being sensitive to the social and cultural norms of the communities being researched, being aware that those who are the focus of the research will benefit by the presentation of an authentic view of the situation and considering the impression the photograph will give if and when it is published. In all cases, it is the researcher’s responsibility to exclude photographs which are not covered by ethical approvals, as well as any potentially harmful or compromising photographs.

Photographs can mean different things to different people [ 24 , 49 ] and meanings may change over time, depending on context and how they are associated in terms of text and other images (for example, one’s interpretation of a photograph taken as a teenager is likely to differ when viewing it as an adult). This ambiguity makes some researchers uncomfortable. However, if one takes a social constructivist stance, that we live in a multi-reality world, then this possibility of multiple meanings from a photograph adds to the data.

Conscious and unconscious “self-censorship”, including when, where or what to photograph, or editing a photo to convey an intended message, is inherent in photo-elicitation [ 45 ]. However, self-censorship is not an issue if one accepts that the purpose of photo-elicitation is to access the social reality of another individual.

Strengths of using photographs in research

Participation and co-construction.

As mentioned earlier, photo-elicitation and photovoice maximise opportunities for participant agency and engagement in the research process, allowing participants to work with and direct the researcher. Furthermore, in dialogic approaches, research involves a joint process of knowledge-production where narratives are co-constructed between participant and researcher through discussion. By using participant-driven photographs, the researcher gains an understanding of what the content of the photos means to the participants without imposing their own framework or perception of a topic on the process.

Participatory research requires trust, a safe space between participant and researcher, so people can express their thoughts and views. Wicks and Reason [ 50 ] suggest that establishing this safe space must be considered throughout the research process: empowering participants in the earlier stage of the research process can also build the connection and trust between researcher and participant—and reduce participant inhibition later on. This may be particularly useful where the topic is sensitive or taboo. For example, Meo [ 51 ] reported photo-elicitation was useful in tapping “class and gendered practices” (p. 152) in greater depth than with interviews alone.

Giving power to participants within the research process can be challenging for researchers. Adjusting to participants as co-researchers may be new and unfamiliar. Continuous flexibility and reflexivity on a personal (e.g., personal assumptions, values, experiences, etc. that shape the research) and epistemological (e.g., the limits of the research that are determined by the research question, methodology and method of analysis) considerations are critical [ 52 ].

Photographs provide structure to an interview, giving the researcher something to return to, to elicit more detailed discussions and/or trigger memories and reflection [ 53 ]. In addition, participants often give information about people or things outside of the photo (the invisible) as well as on who and what are visible [ 52 ]. Similarly, the researcher may be able to access parts of participants’ lives that would be difficult to see into otherwise. For example, Bourdieu argues that visual methods of research may be particularly helpful in investigating habitus, ways of being, acting and operating in the social environment that are “beyond the grasp of consciousness” [ 54 , 55 ].

Snapshots in time and of space

As mentioned earlier, photographs are inherently snapshots in time. They also provide snapshots of space, a means of examining the material assemblages of space, of how things are ordered and used [ 56 ]. For example, a photo of students in a learning space would illustrate who sits with whom, the spatial relationships between humans (e.g., student and student, students and teachers) and the non-human (e.g., bags, laptops, phones, snacks) (see Fig.  2 as an example).

An example of a photograph representing the assemblage of time and space: Students distributed in the space of a contemporary learning suite. Photograph from a publicly facing webpage on a medical school website. This photograph provides an example of how a photograph captures space and time. It provides a glimpse at a contemporary medical school. The photograph serves to document the complexity of modern medical schools, making clear the digitized learning environment. Such a photograph might evoke emotion and a sense of progress, in particular, when contrasted with more traditional images of students learning in a stadium-style lecture theatre

Applications and opportunities

Looking forward, we encourage researchers to consider the use of photographs as a source of data, as a way of accessing data that might otherwise have been obscured or overlooked if we had relied solely on language-based data. We encourage readers to consider what might be learned were we to augment current understanding by incorporating photographic data sources into healthcare professions research. In Table S1, found in ESM, we suggest some outstanding research questions and topics that could be explored. The list found there is by no means exhaustive. Rather it reflects our own interests and observations and should be regarded as a springboard to help readers consider diverse ways in which photographs may add richness in research endeavours.

There are many ways of conducting qualitative research in health professions education research (HPER). All have their affordances and limitations. In this article, we have offered a critical examination of how photographs can be used to generate rich and potentially different data to that generated through talk-only data collection. Using photographs in HPER research opens up new vistas of research possibilities, whether as a means of accessing snapshots of people and situations in time and space and/or as a means of engaging participants collaboratively, to explore taken-for-granted lived experiences which may not otherwise be accessible. This is a fertile area for future research and the empirical potential is vast, ranging from reflective practice to widening participation to questions which are as yet unknown.

Acknowledgements

This paper was inspired by JC’s move to Singapore, a society which uses photographs rather than text in all spheres of life—as proof of payment or parcel delivery, to illustrate a point, to share information, to advertise an event, etc.

The authors neither sought nor received any funding for this project.

Author Contribution

JC suggested and coordinated this collaborative effort, initiated the writing outlines and drafts. AM helped create and revise outlines and drafts. Both authors contributed significantly to the intellectual contents, gave approval of the version to be published and agree to be accountable for the work.

Declarations

J. Cleland and A. MacLeod declarethat they have no competing interests.

This is not applicable as no human or animal subjects were involved in the creation of this paper.

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Creative still life photography

Abstract images of fruit; colourful collections of books; styled sets of stationery… If you’re looking to get creative with your photography and make the ordinary seem extraordinary, then still life photography is probably for you.

One of the best things about still life photography is that you can get creative and test your photography skills using almost anything you have laying around the studio or your house. You also don’t need very much equipment. And if that’s not enough to persuade you, still life images can also be a great way to make money.

What is still life photography

Still life photography is basically any image depicting an inanimate subject, either natural or man-made.

Often confused with product photography, still life photography is often more an arty or conceptual form of photography (it isn’t necessarily designed to sell the item you’re photographing). This allows much more artistic freedom than product photography, which means it’s a great genre of photography to test and challenge your creativity.

Still life photography ideas

There’s no shortage of inspiration online when it comes to still life photography. If you search on Google you’ll get thousands of still life photography examples, not to mention the numerous classes you’ll find on Visual Education (you’ll find a few great classes to try yourself at the end of this post).

Get creative with your ideas though, make them your own. Still life photography isn’t just about bowls of fruit with moody lighting. Typically any inanimate subject matter, still life photography could be any combination of objects. Take the time to look around you and think about creative ways to showcase everyday products.

How to get started with still life photography

What camera to use for still life photography.

One of the biggest draws of still life photography is its simplicity. You can shoot great still life images with any camera, whether you’re using a medium format camera, full-frame camera, crop-sensor or mirrorless camera.

What is the best lens for still life photography

Useful accessories for still life photography, still life photography lighting, photography tips for still life shots, 1. develop a creative concept.

Having a strong concept is key to creating a stand-out image. Think about what you want to say with your photography and how you’re going to say that.

Take the image below as an example — I didn’t simply place lipsticks amongst fish hooks because I had the props lying around the studio. I very deliberately placed these items together to provoke thought about lipstick, or makeup, being used to hook the opposite (or same) sex. The image highlights concepts relating to relationships, desire and sexual attraction.

This example is a more conceptual still life image , but still life photography can also be more simplistic. This image of the rubber ducks, for example, is far more straightforward, highlighting the global pollution crisis and its impact, particularly on wildlife and animals.

2. Plan your image

By taking the time to plan the shoot, you can often preempt the challenges you may face. For example, with my  flying tea food shoot , which I did with professional food photographer and stylist Anna Pustynnikova, by quickly sketching our idea I knew where we needed to place items, how we could suspend the items without them interfering with each other or the lights and what the different steps would be to get the final image.

In another, more simple example, I used a basic drawing to determine the composition and what props I would need for this  whisky photography live show .

Mood boards are another great way you can plan your shoot. Look around for ideas that inspire you or for types of lighting you like and put those together to help you create your final image. I did something similar with my  Clinique style advertising shoot , where I replicated the clean, fresh style typical of Clinique advertising images. Before starting the shoot, I collected some reference images that I could use to guide me throughout the shoot, particularly when it came to the lighting and feel of the image.

3. Lead your viewer’s eye in the image

When it comes to photography, the goal is to create an image that stays with the viewer. This sounds straightforward, but how do we do that? Quite simply, we have to maintain the viewer's attention, and to do this, we have to keep their eye in the frame. Many photographers would refer to this as ‘composition’ , but to maintain the viewer’s attention we need more than just the rule of thirds.

Consider introducing elements such as leading lines, layers, symmetry and even colour. Each of these will help add interest to your still life compositions, and therefore keep your viewer's attention. In addition to these common techniques, I also incorporate elements relating to the science of our human visual systems to help guide the viewer's eye.

Understanding Studio Light

A complete introduction to studio lighting

This highly popular photography class covers the fundaments of light, equipping you with the knowledge you need to confidently work with studio light.

4. Lighting your image

If you’ve taken the time to plan and think about the shoot, you should have a basic idea of what lighting you want and how you’re going to achieve this before you even start shooting.

Lighting is one of the easiest ways to get creative with your photography, but the key thing, with any image, is to use your lighting to convey a particular mood or emotion in the image. You can create many different results, even if you’re photographing the same object (I demonstrated this in a previous live show, where I photographed an egg in a number of different ways using very simple lighting setups).

I’ve used everything from bare bulbs with cut-up pieces of card in front of them to, occasionally, more specialist modifiers such as picolites with projection attachments to achieve many different creative results. To do this, you simply need to think about what lighting you want to achieve and how you can do that.

Recommended Content

Cheese still life, one light lipstick product shoot, toxic egg: a detailed still life study, whisky photography class.

Hi Karl, I am considering going to the chocolate school in Perugia or taking a cooking class to learn how to make chocolates. If I don’t learn to take chocolate pictures, at least I’ll eat them! eh eh!

Thanks again Hello

Thanks Karl, your courses are really beautiful. I’ve improved 🙂 I’d like to learn to photograph chocolate. The most difficult thing is to remove the defects, as I don’t have a kitchen and I can’t make chocolates. They give me ugly. How can I make them beautiful without ruining and matting them? What can i use? Brushes? Hairspray? Help me, surely you know secrets! Thanks so much!!!! Silvia Cocco

Hi Silvia, I’ve photographed lots of chocolate before and many years ago I assisted on a shoot for a big chocolate company and we used fake plastic ones that looked just like the real thing but bigger. If you are using real chocolate I’m afraid it’s a case of using the best chocolate, handling it very carefully with protective surgeon type gloves and keep it cold so it doesn’t melt when you are working on it. Then it’s a case of retouching any problems.

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• Storytelling in Still Life Photography

Still lifes, both in photography and painting, depict a collection of objects. At a first glance they can seem static and meaningless, but still lifes can be effective visual storytelling. Here, we’ll take a closer look at storytelling in still life photography. Both at the types of stories you can tell, plus how you tell stories with objects and flowers.

Visual Storytelling in Still Life Photography

Table of Contents

Still life – nature morte. There is not much life in the names, is there? But are still lifes really so still? Are they dead?

Not if you ask me. I think they can be full of life. Full of energy. And full of stories.

Do all still lifes have elements of narrative and storytelling? No. Many still lifes are simply visual poetry. They don’t aim to tell a story. They are visual poems that focus on colour, form or atmosphere. For now, we focus on the still lifes that tell a story.

Still lifes can be effective visual storytelling.

Types of Storytelling in Still Life Photography

So we’ve established that still objects in a photograph or painting can tell a story. Let’s look at storytelling in still life photography under a microscope. What types of stories can you tell in still lifes?

The stories fall into 3 categories:

• Characterization (of someone/something)

Development

Many still lifes make a statement, both classic still lifes and modern. The still lifes that convey a statement fall into 3 categories – Vanitas, Memento Mori and other still lifes that make a comment.

‘Vanitas’ is latin and means ‘vanity’. It is a subgenre of still lifes that was hugely popular in The Dutch Golden Age. The vanitas still lifes all make the (Christian) statement that life is transient and earthly possessions futile.

Memento Mori

‘Memento Mori’ is Latin and means ‘remember you must die’. The memento mori subgenre is closely related to vanitas. The memento mori still lifes can both make the statement that all that lives must die, but also that you better enjoy life while you can. Many vanitas still lifes contain memento mori elements, such as candles, hourglasses, skulls etc.

Vanitas and memento mori are the most common statements made in still lifes. They are both moralizing and a product of their time.

However, all kinds of statements can be conveyed in still lifes. Modern still lifes that convey a statement fall into this category.

Characterization

The depicted objects in a still life can also function as a characterization of either a situation or a person. The objects then serve as attributes.

The story told in a still life can also be one of development. The objects then represent stages or phases in a narrative. On their own the objects would be meaningless, but in context they gain meaning and together they tell a story.

Methods of Storytelling in Still Life Photography

The stories told in still life painting and still life photography are stories of statements, characterizations or development.

These stories are told with the following 3 storytelling methods:

Juxtaposition

Progression.

These storytelling methods can either be used alone or in combination.

In The Dutch Golden Age the preferred storytelling method was symbolism. The stories in the still lifes were told in a hidden code language.

Most objects in still lifes had a symbolic meaning, e.g. pearls symbolized virginity and an hourglass symbolized mortality. If not familiar with art history, most modern viewers would miss the coded symbols and just see pretty images of seemingly meaningless objects. But in the Dutch Golden Age viewers were familiar with the code language and were able to ‘read’ the stories told in the still life paintings.

Another method to tell stories with is juxtaposition. Juxtaposition is the placing of objects next to each other, in order to highlight similarities or differences. When objects are placed together, they enter into a relationship with each other. The viewer is invited to consider this relationship and derive a story from this.

A major difference with symbolism is that in symbolism an object has a fixed meaning. In juxtaposition the same object can have different meanings depending on the constallations they are part of. The story comes from the context.

The last storytelling method is progression. The objects in the still life form a series, where the relationship between them is either temporal or causal. So either the story depicts a progession in time or a progression in events that are in a cause and effect relationship. This method is a perfect match for stories of development.

Analysis of Storytelling in Still Life Photos

‘public enemy #1’.

‘Public Enemy #1’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement statement in form of a comment,”All plants are created equal”.

Stylistic inspiration from Dutch Golden Age floral still lifes. But instead of a bouquet of highly cultivated flowers, it presents a lush bouquet of one of the most hated weeds, ground elder (Aegopodium podagraria), public enemy #1 amongst garden owners.

> Storytelling method(s): Symbolism The weed is a symbol of beauty in imperfections and the unplanned.

‘Springtime Vanitas’

‘Springtime Vanitas’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement statement in form of a vanitas/memento mori,”All that lives must die”.

> Storytelling method(s): Symbolism The egg shells, down and spring flowers are all symbols of spring and new life. The hourglass, on the other hand, is a memento mori reminder, a symbol of life eventually running out.

‘The Explorer’ & ‘The Voyer’

‘The Explorer’ | Trine Mandal Mortensen / Tina Thyde | Patinatur Studio

‘The Voyer’ | Trine Mandal Mortensen / Tina Thyde | Patinatur Studio

> Story type(s): Characterization (of a person) Characterizations of 2 kinds of people, doers (the explorer) and dreamers (the voyer).

> Storytelling method(s): Juxtaposition + symbolism When placed together these symbolic objects form a characterization.

‘The Explorer’: the objects symbolize active exploration – globe, suitcase, camera and field bottle. ‘The Voyer’: the objects symbolize passive peeking and studying of others – binoculars, taxidermy bird (Kingfisher), books and birdcage.

‘Corona Pandemic’

‘Corona Pandemic’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Characterization (of a situation)

Characterization of the time of the first lockdown in the corona pandemic.

> Storytelling method(s): Juxtaposition

Placed together these objects – toilet paper, hand sanitizer and protective glove – form a characterization of the first lockdown.

Stylistic inspiration from Dutch Golden Age still lifes. The lemon peel dangling over the edge in Dutch still lifes is here replaced by a roll of toilet paper.

‘The Life Cycle of a Daffodil’

‘The Life Cycle of a Daffodil’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Development

The image shows the life cycle of a daffodil. 

> Storytelling method(s): Progression

Daffodils are placed in a circle in a temporal progression. Each daffodil represents a stage in a daffodil’s development. From sprouted bulb to bud, to partially unfolded flower, unfolded flower, flower in full bloom, wilted flower and to bulb again.

‘The Echo of Summer’

‘The Echo of Summer’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement

Statement in form of a comment, “All flowers are created equal”.

Stylistic inspiration from Dutch Golden Age floral still lifes. But instead of an arranged bouquet of lush cultivated flowers, it presents a bouquet of dried wildflowers simply lying on a surface.

> Storytelling method(s): Symbolism

The dried wildflowers symbolize beauty in the natural and imperfect.

‘Nature’s Waste’

‘Nature’s Waste’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Characterization, statement 

Characterization of the waste that nature leaves behind.

Statement in form of a comment, “Nature’s waste is beautiful”.

> Storytelling method(s): Juxtaposition, symbolism

Each object is a waste product from nature. The connection between them is made clear by juxtaposition.

‘Bloom Is Just a Phase’

‘Bloom Is Just a Phase’ | Trine Mandal Mortensen | Patinatur Studio

> Story type(s): Statement, development

Statement in form of a comment, “Look beyond the prime”.

The hibiscus flowers in full bloom steal the show, but there is beauty to be found in all stages of the development of a flower – bud, bloom and wilted.

Or in all stages of life – childhood, youth, adulthood and old age.

> Storytelling method(s): Juxtaposition, progression

The progression from bud to flower in bloom and wilted flower tells the story of a life cycle.

The juxtaposition of a bouquet of blooming flowers with the entire life cycle shows that there is more to flowers (or people) than their prime.

The collections of objects and flowers can tell many different stories with different methods of storytelling.

A Still Life Is Not Just a Still Life is Not Just a Still Life

So there can be storytelling in still life photography. The collections of objects and flowers can tell many different stories with different methods of storytelling. Gertrude Stein said, “A rose is a rose is a rose”. But sometimes a flower is not just a flower. A floral still life is not just a floral still life. And an object is not just an object. By using symbolism, juxtaposition or progression, they can tell stories of statements, characterizations and developments.

Further Readings

• Still Lifes in Art History (Patinatur Studio)
• Narrative Photography  (Wikipedia)
• Bringing a Deeper Meaning to Still Life Art (Realism Today)

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