Tag Archives: Still Life

“The Weed”

“Simplicity is the ultimate sophistication”  – Leonardo da Vinci

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“In the beginning was simplicity”    Richard Dawkins

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I don’t know the name of it (and really don’t care). The images have been sitting on file for a while – one of these little objects I bring home and prop them up for some shots.
At the time the question was: What to do with them? How to set the lighting? Light or dark background? Colour or B&W? How to frame, how much negative space? 
Later/Now I stumble upon them and they make a good conversation piece. How did they come to be? Maybe “inspiration” for some … for lack of a better word. Don’t like that word though. Origin: ‘spiritus, us, m., Lat: the ghost … “spiritualism” = “the believe in ghosts”. As if creative people were getting up in the morning and sit around, waiting for some divine input from above … nonsense … no ghosts, no spirits … creativity comes from YOU, from your brain – playing, experimenting, risk-taking, making mistakes … work !! 
Back to the topic 🙂 … Long winter nights … perfect for little studies of light and shape … with anything, even weeds … “the object is meaningless … the light is everything” It’s all up to you … to make something out of nothing … 
Neville’s single malt is waiting … Cheers!!

PS: could have titled it just “Weed” – but it would have created false expectations 🙂

Klaus Rossler © copyright

as always, your comments are appreciated

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“Bulb to Image”

“Do not play what’s there … play what’s not there”  –   Miles Davis

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Well … again … flowers … this time on the realistic side

We’ve got surprised by this little bulb, sitting around all winter, almost forgotten. It turned into a huge Amaryllis with four white flowers. So I set up my stuff – camera, tripod – plus desktop lamp, black foam board as background – all a very simple setup, regular household stuff. A bit of natural light from the window too. I also have a little LED flashlight for a bit of light-painting during exposure – washing over certain areas of the flower with the beam to open some shadows or enhance highlights.
Yes – ‘Making Photo-Graphs’ … as opposed to ‘recording’ … anything that makes a stronger image goes … composition, light, contrast, multi-exposures…
I tried a few multy-exposures with changing focus, but wasn’t too impressed this time. It usually creates nice halos around edges, but … oh well. Then I turned everything into B&W with lots of contrast … Ansel Adams would be proud of me!
As much as Bach would have been a Jazzer today, Ansel would have loved the digital darkroom as opposed to the nasty chemical one he spent so much time in, I’m sure.
Anyways, can’t say it often enough how rewarding and how much fun these indoor sessions are … setting up a little still life, playing with the light, background, angles, any object …

… and here we are … just one step left to really finish the job: … The Print
(see http://wp.me/p1pJyU-Dv for more about prints)

let me know what you think.

Klaus Rossler © copyright

your comments are appreciated

Custom Photography-Fine Art Prints-Photo Restoration-Contact:

www.kr-photography.ca


“View From The Edge”- in retrospect #1

“The negative is the equivalent of the composer’s score, and the print is the performance”                                                                                      –  Ansel Adams

After the process of taking the shot (or better, of making a ‘photo-graph’), intellectually and technically, for many of us the whole act stops as soon as the image is in the camera / computer – visible on the monitor.
The next exciting and important step is making the print with all its difficulties and rewards. To make the print is the other half of photography, previously as chemical darkroom work and now as digital editing and the inkjet print. The perfectly executed print, including choice of paper and presentation, means going all the way and transforms your creativity and expression into something that’s real, something you can touch or hang on a wall.
But going even one step further, is selecting a series of prints suitable for exhibition or publication. One of the first thoughts is a subject (not to confuse with subject-matter or object), meaning a theme that combines the selected images as a body of work, as opposed to a bunch of varying, pretty postcards. Another concern would be the presentation – in which way the prints are mounted and displayed, framed and matted (or not), even the room, ambience, lighting and wall colour.
I came across images from an earlier exhibition I had under the title “Views From The Edge” – It deals, in a few words, with my experiences and visions at the water’s edge, the connectedness of views up, down, or abroad, and especially with the visual transformation of solid matter into liquid matter – in the way objects liquefy and distort when reflected in water. Through this process the original identity is lost and opens new worlds of shape, colour and texture. Here, instead of using mat & frame, prints are mounted on large panels. Many are diptychs or triptychs, combinations of two or three related prints, emphasizing their connection with intertwining borders. The group of eight similar, more realistic images titled ‘Longing’ makes a series, or sub-group, by itself.
A quick note to ‘concept’ and ‘conceptual’.
The idea ‘view from the edge’ and its execution and description as a theme, is of course also a concept, as could be almost anything – techniques, format, choice of colour, presentation or subject matter, but should not be confused with the rather hip and grossly overused term ‘conceptual art’, where the message, mostly sociopolitical, is the art – where the actual work or piece, often of rather mediocre impact and quality, is reduced to a carrier for another purpose – where lack of artisitic creativity is replaced by hip and political statements. (see No Message)
As mentioned in earlier articles, I’d like to emphasize that for me the image always comes first and that concepts, or better themes, are entirely based on visual qualities. When creating the image, my only concern is the visual impact – period. Putting together a body of work, or theme, that might be suitable material for an exhibition is a subsequent act, including switching images or even changing the whole theme or title later.
There will be more images posted under this topic in the coming weeks.
There is more info here:  Description of Work  –  Curator’s Statement  –  Image Gallery

Klaus Rossler © copyright

your comments are appreciated

   Custom Photography-Fine Art Prints-Photo Restoration-Contact:

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