Search results
Results from the WOW.Com Content Network
In the late 1920s Weston began taking a series of close-up images of different objects that he called "still lifes".For several years he experimented with a variety of images of shells, vegetables and fruits, and in 1927 he made his first photograph of a pepper. [1]
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 ...
Food photography is a still life photography genre used to create appealing still life photographs of food. As a specialization of commercial photography , its output is used in advertisements, magazines, packaging, menus or cookbooks.
A selection of photos from our readers on a set theme. For premium support please call: 800-290-4726 more ways to reach us
A close-up or closeup in filmmaking, television production, still photography, and the comic strip medium is a type of shot that tightly frames a person or object. [1] Close-ups are one of the standard shots used regularly with medium and long shots (cinematic techniques). Close-ups display the most detail, but they do not include the broader ...
Fruit and Flowers (1860) by Roger Fenton. Fruit and Flowers is a black and white photograph by English photographer Roger Fenton, taken in 1860.It was part of the still lives series that Fenton did at the Summer of that year, and would be some of his final photographic work, shortly before be leave this activity, in 1862.
In 1987, critic Andy Grundberg noted in The New York Times, "In 1978 an exhibition of her dramatic still-life photographs of objects in her kitchen sink caused a sensation. When one appeared on the cover of Artforum magazine, it was a signal that photography had arrived in the art world - complete with a marketplace to support it."
Returning to photography in 2010, she began work on another still-life series, Ill Form and Void Full. In this work, she sought to try to “restructure the desire [photography] engenders” by making overt that pictures beget other pictures, i.e. images inform subsequent images. [8]