LESS STILL, MORE LIFE
By MICHAEL PERKINS
PHOTOGRAPHIC HISTORIANS WILL PROBABLY CRINGE AT MY OVER-SIMPLIFICATION, but I tend to believe that still-life compositions were originally popular to shooters because they solved a technical problem. At the dawn of the imaging art, recording media, from salted paper to glass plates, were so abysmally slow that exposure times stretched, in some cases, to nearly an hour. This meant that subject matter with any kinetic quality, from evolving landscapes to a baby’s face, were rendered poorly compared to inanimate objects. Still lifes were not so much about the beauty and color of fruit and cheese on a plate as they were about practicing…learning how to harness light and deliver a desired effect.
As film and lenses both sped up, a still life could be chosen purely on its aesthetic appeal, but the emphasis was still on generating a “realistic” image…an imitation of life. The 20th century cured both photography and painting of that narrow view, and now a still life, at least to me, offers the chance to transform mundane material, to force the viewer to re-imagine it. You can do this with various processes and approaches, but the main appeal to me is the chance to toss the object out of its native context and allow it to be anything…or nothing.
In the image at left, the home-grown vegetables, seen in their most natural state, actually have become alien to our pre-packaged notions of nutrition. They don’t even look like what arrives at many “organic” markets, much less the estranged end-product from Green Giant or Freshlike. And so we are nearly able to see these vegetables as something else. Weeds? Flowers? Decay? Design? Photographing them in our own way, we are free to assign nearly any quality to them. They might, for example, be suggestive of a floral bouquet, a far cry from the edibles we think we know. Still life compositions can startle when they are less “still” and more “life”, but we have to get away from our subjects and approach them around their blind side.
As always, it’s not what we see, but how.