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Still life photography is a genre of photography used for the depiction of inanimate subject matter, typically a small group of objects. Similar to still life painting, it is the application of photography to the still life artistic style. [1] Tabletop photography, product photography, food photography, found object photography etc. are ...
Juan Sánchez Cotán, Still Life with Game Fowl, Vegetables and Fruits (1602), Museo del Prado, Madrid. A still life (pl.: still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or human-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).
At the time of The Pencil of Nature's publication, photography was still an unfamiliar concept for most people—The Athenaeum, a contemporary British magazine, described Talbot's work as "modern necromancy" [4] —and the book was the first opportunity for the general public to see what photographs looked like.
Landscape photography is one of the categories of photography often associated with nature photography. It focuses on images of the natural world (such as rivers, mountains, deserts, and forests) [2] as well as man-made structures (such as city skylines). However, that is rarer and separated from nature photography.
Landscape photography (often shortened to landscape photos) shows the spaces within the world, sometimes vast and unending, but other times microscopic. Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes. Landscape photography is done for a variety of reasons.
Still photography may refer to: Photography; Still life photography, photographs containing mostly inanimate subject matter, often in small groupings; Unit still photographer, a person who creates still photographic images for the publicity of films and television programs; Still frame, a film frame taken from a motion picture
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Photography critic Andy Grundberg notes that Skoglund's work contains "all the hallmarks of the new attitude toward photographs: they embrace blatant artificiality; they allude to and draw from an 'image world' of endless pre-existing photographs, and they reduce the world to the status of a film set."