Picturesque still lifes of the 14th century told about the transience of everything earthly and the inevitability of death. They were filled with symbols, the meaning of which today is difficult for the average viewer to understand. What does modern photographic still life tell us about? What topics concern photographers working in this genre? We will learn about this at the seminar.

WHAT WILL YOU LEARN?
-Have the main themes of still life paintings been preserved since the Middle Ages? What do works in this genre tell today?
-What is better for a still life - fruits, butterflies, flowers or garbage?
-Is it possible to create a still life from a thousand objects?
-Who makes the most outrageous still lifes?
-Is it possible to shoot still lifes underwater and what comes of it?
-Is it right to photograph composed compositions or is it better to find compositions that have formed by themselves?
-Is it possible to use Photoshop when composing still lifes or should everything be “fair”?

WHO IS THIS FOR?
The seminar is designed for a wide range of listeners and does not require special skills. The class will not be boring for anyone present; all you need is an interest in modern photography.

Video information
Name: Photography as Contemporary Art: Still Life
Andrey Zeigarnik
Release year: 2017
Genre: Seminar
Language: Russian
Released: Russia
Duration: 02:21:54

File
Format: MKV
Video: AVC, 1440x900, ~997 Kbps
Audio: AAC, Lossy Kbps, 48.0 KHz
File size: 1.1 Gb

Still life can rightfully be called one of the most complex genres in any form of fine art. And in photography as well. Nature, for example, is beautiful in itself. In order to create a good landscape, the artist just needs to find an attractive place, in other words, a beautiful nature, and convey the state of nature on the canvas. Yes, it is, of course, difficult. Very difficult. Not everyone can convey the mood in a picture. It's more difficult to do this in still life. Indeed, in a still life, unlike, say, a landscape or a portrait, the artist himself organizes this nature, builds the composition himself, selects objects for the image... All this applies to photo artists. When working on a still life, a very important role is played by the author’s creative imagination, knowledge of the laws of composition, a sense of texture and light... After all, unlike the landscape already created by nature and man before the artist, the artist creates a still life from scratch, organizing it on a blank sheet of paper. Where there was nothing before. This is probably why not every artist is able to create a good still life. Just look at the painters. Are there many real masters of still life among them? There are many more portrait and landscape painters... The same can be said about the art of photography.

In this article we will try to tell you how to create a good photographic still life. Of course, we will give some advice on this matter. We hope they will help you in your creative work. They will become an incentive for creative growth.

Where does still life begin?

A still life begins with a concept, that is, in other words, with an idea. Look around - what is in your home that is of interest as an object for composing a still life composition? What objects “ask” to be included in the frame? Old and “textured” objects look very good in a still life - various vases, clocks, antique books, porcelain figurines, table lamps, sets, candlesticks and candles, some things made of coarse and large weave fabric - napkins, tablecloths... Look good in still lifes of fruits and vegetables. Flowers are also one of the favorite objects of still life painters. Moreover, the flowers are not only fresh, but also dried. There is no limit to imagination here. A variety of objects are suitable for still life. The main thing is that all these objects are in harmony with each other in form, color, texture, meaning... Well, for example, what is the idea of ​​combining, say, pliers and a vase of apples in one still life?

Let's start with at least the simplest composition: a still life, the main “character” of which will be a bowl of fruit. Someone will say that such a still life is the most common, widespread and far from new. So what! Agree, what could be more beautiful and interesting than beautiful fruits in a beautiful vase? This will be the idea of ​​our still life. Now let's decide which objects we have that can be placed next to such beauty, what textures and colors will be in harmony with the colors and textures of the fruit and the vase itself. Considering all this, remember about the semantic content of the still life. After all, a still life, like any other painting, should tell a story. Well, imagine, for example: a vase with apples, pears and cherries, and next to them are several wildflowers and a mug of milk. All this is located on a simple plank rustic table. Here's a story about an early morning in the village!

Choosing a place to shoot a still life

Anything can serve as an object table for a still life. Any table in your home can play this role. And not just the table. Objects for still life photography can be placed on the windowsill, on the bedside table, even on a shelf in the closet. The main criterion here is the strength of this object table and its sufficient area. So that there is a place where your creative imagination feels calm, so that it is spacious and easy for it to live there. Even on the floor you can organize compositions of objects for shooting still lifes. Well, if the surface on which you place your objects is unsightly or does not at all meet all possible criteria for the still life you are working on, then you can cover it with a beautiful fabric: a tablecloth or napkin. You can simply put a piece of paper or beautiful plywood on it, for example.

Don't forget about the background of your still life. The background in this genre of fine art plays a very important role. After all, it is he who sets the entire mood of the painting (and photography, of course)! Well, for example, if the background of your still life is black, burgundy, dark brown, or a combination of these colors, then your picture will turn out to be dramatic, in some ways even a little gloomy. A light background - white, pink, light green, blue - will give the still life tenderness, sensuality, and romance. It’s good to shoot “female” still lifes against a light background, and “male” still lifes against a dark background. That is, those in which the still life objects seem to belong to a woman or a man, or are intended for them.

The material for the background of a still life can be plywood or cardboard, painted in the desired color, or any other material, preferably not glare, but matte. It is very difficult for even good photographers to work with a glare background. If you use fabric as a background, then it can be beautifully draped, that is, laid in spectacular folds. Some people manage to shoot still lifes without using the background as an object at all. This can be done if you do not use natural light, but shoot only under artificial lighting in a dark room. In this case, the lighting devices should be directed exclusively at the objects being photographed. At the same time, everything else that remains outside this spot of light goes into complete darkness and turns into a deep, beautiful matte black background.

Building a still life composition

Creating a composition is perhaps the most difficult stage in working on a still life. To some, this stage may seem unimportant and uncomplicated. It seems that, at first glance, everything is simple: put beautiful objects beautifully on the table - and start photographing them. But this is not true at all. More precisely, it’s completely wrong! Very quickly you will understand that some objects are not in harmony with each other, for example, in color, in size, in meaning... The composition turns out to be disproportionate, “falling over” to one side or the other. In short, the realization that this stage in working on a still life is the most difficult and most important will come to you later or sooner. And you will understand that it’s not that perfect, but even just correctly placing objects for a still life is a very, very difficult task. And not every photographer and artist can solve it quickly.

So, let's get down to the actual work. We begin to create the composition of our future still life.

First of all, we need to determine what will be the center of interest for the viewer in our still life. Simply put, what will be the main object in our picture, the one around which the entire story being created will develop and revolve. Well, since we started talking about still life using the example of a bowl of fruit, let’s continue this topic. Let it, this vase, be the center, the main object of the entire composition.

The first thing you need to take into account is that the semantic and geometric centers of any painting, including photographs and, naturally, still lifes, do not always coincide. In short, if our bowl of fruit is located clearly in the center of the frame area, at the intersection of its diagonals, this is bad (Most often bad. But do not forget that there are exceptions to any rules...). So we recommend moving the vase to one side of the frame. You can place or put one or more other objects nearby. Well, for example, put one apple near a vase. Or put a beautiful glass of wine next to it... If you so wish, you can leave the bowl of fruit in splendid isolation. And this can also be beautiful and harmonious. But, nevertheless, it will be quite difficult to do this. Minimalism has always been a difficult genre in fine art. The simpler the better - this is the main principle of minimalism. And not every artist can bring it to life, into reality. So, to begin with, we recommend that you still create a still life composition from several objects. But do not forget that all these objects are connected to each other in meaning, harmonized in color, shape, size and texture. For example, if red apples are comfortably located in your vase, then next to it, on a beautiful snow-white tablecloth, you can put a proud red rose. Or red poppy. But, say, the mixer you brought from the kitchen, even if it is red, will be completely inappropriate in this composition. We must strive to ensure that the objects in the still life complement each other, and do not argue with each other, and do not cause a feeling of bewilderment in the viewer.

So, we have decided on the compositions. Let's move on to the next stage of work:

Putting on the light

Properly placed or chosen light in a still life is no less important than its composition itself.

If you are working on a still life at home, not in a special studio, but in your apartment, then it is best to start shooting in natural daylight. In this case, we recommend placing the object table not far from the window or opposite it. Soft, diffused, and at the same time directed light falling from the window onto your subject composition will create beautiful, long, soft shadows from objects, and at the same time will favorably emphasize and reveal the texture of these objects, giving them volume.

No matter how strange it may seem to you, it is quite easy to control and regulate natural sunlight from a window. This is easy to do by manipulating various reflectors and dampers made, for example, from cardboard, plywood or other materials that are at hand. A reflector, say, can be an ordinary sheet of A4 paper leaning against something on your object table. Yes, even a newspaper folded into a “hut” and placed next to it can work as a reflector! You can shade the light from the window using window curtains or blinds.

If you are working on your still life in the evening, and daylight is simply not available to you, you have to work with artificial light. An ordinary flash will work well as a source of such light. You just need to put a diffuser on it. If you do not do this and shoot without a diffuser, harsh, rough and unsightly shadows may form on the background. If you have a good source of constant artificial light at your disposal, then it is better to use it in conjunction with a softbox.

You can use a table lamp as an additional light source. A beam of light from it, for example, can be directed toward the background. But in this case it needs to be placed away from the background, at a distance of about one meter. Otherwise, the light spot on the background will be very sharp, rough and ugly. A table lamp can also be installed behind the composition of objects you have built and used as a source of backlight.

Here you go. The composition is built. The light is on. All is ready. Let's start filming. Still lifes are best shot on a tripod. Why? Because you may need to work at fairly long shutter speeds to achieve certain goals. And without a tripod, such shooting is simply impossible. The camera must be stable. An example here is the still lifes of the classic of Czechoslovak photography of the mid-last century, Vaclav Jiru, which he created in his studio or outside at night, exclusively by moonlight, without using any additional light sources. Well, if you don’t set such high goals for yourself, then when shooting handheld, try to hold the camera so that it doesn’t shake. Blurring and blurring in still life are excluded. This is such a genre in art - everything must be clear.

In the process of shooting a still life, we recommend rearranging objects from place to place, feel free to change the light, and move its sources in different directions. Shoot at different shutter speeds and different apertures. Change other settings on your camera. Shoot from different angles, from different shooting points. Shoot with different lenses. Improvise on the go! Look for different options! It is in the process of shooting a still life that a certain excitement arises, a kind of courage. You will want to build more and more new options for still life composition, more and more new lighting schemes. Don't limit the flight of your creative imagination! Perhaps today you will create your best shot, which will later glorify you!

Yes, and one more note. Our last recommendation for today. If there is a lot of white in your still life, before you start photographing, we strongly recommend that you remember to set the white balance correctly in the camera settings. Otherwise, later, during post-processing of the image on a computer, you will have to tinker a lot with color correction in a graphics editor. In other words, in Photoshop.

Let's consider the use and combination of different types of compositions depending on the chosen image and design using examples.

The still life is called “The Story of a Lantern Forgotten on a Travel.”
When creating this still life, only a burning lantern was used from objects, which was brought to the shore of a snow-covered reservoir. Then the texture of an old book cover was added to Photoshop, emphasizing the flames.
The idea was very important when choosing the composition of a still life. There should have been a minimum of objects so that nothing distracted from the main object, and the point of view should have been chosen so that the landscape in the background with the receding perspective of the shore could be read. Texture overlay makes the photo more dramatic. The composition is diagonal, linear to emphasize the shape of objects and the line of the coast. The main accent of the composition is fire, located at the intersection of the golden ratio lines. The bulk of the composition is shifted to the left edge, as a result of which the eye from the fire continues to follow the shore line to the upper right corner, looking for a diagonally opposite balancing spot there. Such a spot could be a ship on the horizon, which is absent to increase the feeling of loneliness at work.

The still life is called “Symphony in red and gold tones.” The title and style of the work are inspired by the work of Whistler, an artist who dealt with the issues of color harmonies as key elements of artistic design. He often called his works "symphonies". The composition is built in an oval to emphasize the soft, rounded shapes of the objects; the oval shape is continued in the clock window. The contours of objects are softened, blurred, creating the effect of haze, glow, almost sleep. The objects themselves are selected as symbols of knowledge: a broken pomegranate is the structure of knowledge, books and a scroll are its results, and a clock (a symbol of time) is a necessary condition. The work is based on the unity of tonal and color relationships (in dark tones).

"Story by old seaman" or "The story of the old sailor." The history of this still life is quite simple: objects were selected according to associations with southern countries, processed in the style of an old photograph, partially colored. But the still life itself is staged in such a way that its objects in their mass look like a portrait (the works of the Renaissance artist D. Arcimboldo are taken as a basis). Accordingly, the production contains a double association with long-distance travel: objects from “distant countries” and the narrator - “grandfather the traveler.”

"Expectation". The photo was taken at the Vintage Car Museum in Moscow. Balanced composition with tonal silhouette rhythm. The point of the work is that each subject has its own time. The composition is built in such a way as to create the feeling of a train station, where passengers (things) are waiting in front of a board (for hours) for their turn...

"Autumn". Still lifes on an autumn theme are very diverse, rich and beautiful everywhere. If we recall the picturesque still lifes of M. di Caravaggio, they embody all the fertility of “autumn”, the triumph of Bacchus. Therefore, the composition of this still life is based on the techniques used by the Italian artist. Objects are presented in a contoured, decorative manner, the composition is built according to the shape of a “triangle”. The applied texture also gives the work a classic look.

“Daisies” or “Country Still Life”. The composition is also built in a triangle, but the main emphasis is on lighting - light, warm, soft. The unity of tonal and color relationships (in light tones) provides the work with a feeling of serenity, unpretentious, simple beauty.

"Currant". A frieze linear composition is very well suited for emphasizing the beauty of the lines of currant clusters and the smoothness of their transitions. The rhythm of rounded shapes creates the feeling of scattered beads.

“It’s all gone.” Tonal, frieze, triangle-enclosed composition. Dried flowers, “withered” apples, a chipped dusty plate were taken as symbols of old age. The inclination lines of the flowers create the presence of “dialogue” between objects, conversation, mutual assistance and support. Accents are placed in yellow-green shades.

"Frosty Autumn" The beautiful cold blue-violet shade that is present in the objects creates an atmosphere of nobility, a feeling of light frost and frost. The original coloring of the apple resembles frosty patterns on glass.

"Everything is forgotten." Frieze contour linear composition. Dried flowers, “fading” apples, a chipped dusty plate are symbols of old age. Unlike the still life “Everything Is Gone,” there is no dialogue, which is why the title contains the word “forgotten.” Accents are placed in yellow and white shades.

"Berry tea" Dynamic diagonal composition, linear, built on the rhythm of red, black and white colors. The color combinations were chosen in association with berry-floral tea - warm, with a complex red-brown hue. A slight emphasis in processing is given to the retro style.

"Blackberry". Retro style. The noble dark crimson shades of blackberries and mallow flowers are emphasized by the contrast with the yellow color of the cup
.

"Symphony". Diagonal composition, linear. Flowers and leaves are arranged in an order similar to sheet music. Flowers in a vase symbolize different shades in music (forte, piano). The drapery in the background provides support for the foreground lines.

The work is based on the unity of tonal and color relationships. Linear composition in a similar range. The still life contains the idea of ​​comparing two principles - 1. Fragility, tenderness, lightness, fleetingness, fragility (phlox), 2. Hardness, eternity, constancy, static (vase made of stone) and combining them: warmth, elegance, plasticity and the uniqueness of the contours of flowers and coloring lines of the stone.

"Sea shell". The composition is built in a circle shape. The flowers are symbols (allegories) of starfish, and the vase is shells. The added texture gives the work the effect of golden waves shimmering in the sun.

"Shepherdess". Here the same vase acts as a basket. The arrangement of objects (flowers, leaves and vase) is planar, decorative, contour. The work evokes associations with French painting from the Rococo era.

"Evening Shadows" In this still life, in constructing the composition, an important role was played not only by the objects themselves (asters and apples), but also by the shadows falling from them, which act (due to their clear, readable form) as independent subjects of photography.

“For her...” The tonal solution of the composition. The still life is made in the style of old postcards. Flowers (large white peonies) in a vase, strings of white pearls, rings and earrings with pearls - all indicate the “femininity” of the still life. Added haze and other textures give the work additional lightness and airiness.

"Natural life." Still life literally translates as “dead nature.” But over the past since the appearance of this genre in art, the situation has begun to change. A new name for this genre has appeared in photography - “Still life” - “quiet life”, more and more experiments. The idea of ​​this work was “the birth of a new still life.” The kitten in the still life is the center of the composition - the main component of the still life. The linear-tone composition is built in a triangle. The light tone in the still life, the backlit hairs of the kitten’s fur, and its pose are symbols of birth. The fruits are also chosen to be small in size to maintain the atmosphere.

"Asters". A classic still life, the shape of the vase is emphasized by a dark background. The composition is diagonal, the predominance of two asters (lilac and white) in the bouquet on the right side creates a story about how 2 flowers looked out from the total mass to admire themselves in the mirror. And the mirror itself, in combination with a dark background, gives the work a touch of a theatrical setting.

Buecher. The classical composition, built on tonal relationships between objects, is built in a “triangle” figure, where its central axis also plays an important role (there are semantic points on it: the head of a girl at the window by Vermeer, a contrasting white sheet on a dark background of a book, a coin). Two parallel candles and the smoke coming from them give a dynamic composition.

Still life classic with the butterfly. A two-part composition, built on the combination of groups of objects and the conclusion of their compositional figures - the supporting group (in this still life - a triangle obtained by a group of leaves) is located inside the main one (an ellipse obtained by the general arrangement of objects). Composition “contour”, “linear”. The color support of the lower left and upper right corners (butterfly and drapery in the background) is also (along with the visual line from the spout of the jug) and dynamic output to the upper left corner.

Mamut. Classic “tonal composition, arranged in a “right triangle” figure. The still life objects form two groups balanced in relation to each other: group 1 - two jugs, group 2 - two elephants.

Ceramics. “Tone” composition, arranged in an oval. The dynamic outputs in it are visual lines from a maple leaf, two ears of corn and the handle of a board. Close color schemes not only unite objects, but also emphasize their individuality by enhancing the role of texture.

Still life classic. “Contour”, “linear” composition, built on the interaction of two groups of objects, combined into geometric shapes: 1 group - built on accents in yellow-green tones - the “semi-oval” - the main one, 2 group - “triangle”, built on close colors - additional. The composition contains dynamic exits in the upper left and upper right corners: flower leaves, basket handle, candle top, jug handle.

Teekane. “A tone composition based on the contrast of light and dark tones. The main compositional center is built on contrasting points, the additional one - on close ones. The rhythm in the composition is set by the stripes in the background, they are also balancing.

Tangerines. Setting 1. Diagonal composition with a group of objects additionally combined into a geometric figure “ellipse”. The composition is contour, built on similar color combinations.

Tangerines. Setting 2. Two-part composition (triangle and ellipse), contour, built on similar color combinations. Dynamic outputs: 1 - visual lines along the leaf and the neck of the jug to the upper left corner; 2 - visual lines along the tangerine skins on the lower left and right corners.

From the very beginnings of the development of photography, still life photography has always been particularly popular, and all because the objects being photographed are static and motionless, and you can experiment with them without limiting yourself in time and ideas - after all, the first cameras had a very long shutter speed, which made it difficult the task of shooting dynamic scenes. Today, almost two centuries later, the art of photography continues to be replenished with interesting shots of all kinds of objects, arranged in a certain way and with a specific concept. Many photographers prefer this particular genre to all others, because work in it knows no boundaries.

At first glance, it may seem that shooting static objects in still life is a simple and quick task, but in reality everything turns out to be completely different. Difficulties begin from the very beginning, when choosing the necessary objects and their arrangement according to all compositional laws, and end with the arrangement of light and the selection of the winning shooting angle, which in conclusion must be improved with high-quality image processing. Photographers spend hours, or even a whole day, on such work - otherwise they won’t get professional shots.

Features of shooting still lifes

The advantage of working with still lifes is that you don’t have to look for a special place for filming or a mountain of professional equipment. Even a home environment is suitable as a location: choose a place illuminated by daylight or use a flash, select and build a suitable background yourself - and you can shoot.

Unlike shooting portraits and landscapes, for example, you will need much less additional detail. But the most important difference is that you will have as much time to work as you need, because interacting with objects is much easier: you can rearrange them, remove unnecessary ones, add new ones, try an infinite number of angles and realize any ideas. With people whose energy resources are limited, there will be no such shooting opportunities.

When photographing people, animals or landscapes, photographers often have to do everything almost on the run, but with inanimate objects everything is different: you can think through every little detail and create a truly perfect photo.

Among other things, shooting still lifes has always been valued in commercial photography, so good photographs can bring not only aesthetic pleasure, but also a good profit. In the modern world, more and more magazines, catalogs and other publications of various types are being published, in which it is necessary to demonstrate a wide variety of objects and goods: food and ready-made meals, drinks, accessories, clothing, interior items and much more. Such photographs can be independently promoted on the Internet using special exchanges and other resources.

What to photograph?

To many, the still life genre in photography seems classic, standard and predictable, in which the main place in the frame goes to vegetables, fruits or flowers. In fact, what to photograph depends only on your imagination and preferences. Look around and look for objects that tell a story, no matter how unusual they may be. After all, here, as in any other genre, there is a place for originality and creativity.

You can find unusual or interesting things to photograph anywhere: on a walk, in a cafe and many other places. Remember or write down the idea that popped into your head when you saw an object you liked and try to implement it in your home environment. For beginners, it is recommended to start working with simpler objects, avoiding glass and metal, which are difficult to match lighting to. After practicing on something understandable, you can choose more complex forms, combining objects with each other in advantageous combinations.

Lighting settings

The advantage of still life photography is that it is not necessary to purchase expensive lighting equipment, as is necessary for studio photography. Remember that you have complete control over the entire work process, so you can deal with light with a minimum amount of equipment at home.

You can use not only any artificial light source, but even natural daylight. In the first case, you can simply block out daylight by tightly covering the windows with blinds and curtains, lining up all the light artificially. In the case of daylight, you just need to choose the lightest point in the room, near the window, which is not blocked by trees, buildings and other obstacles.

Some may think that you can't take good pictures with regular incandescent lamps, but this is not true. The main thing is to learn how to work with artificial light sources, experimenting with their placement. You can illuminate an object not only from the front, which can be quite boring, but also from the side and even from behind, achieving interesting results. But if you have a high-quality and strong source of natural light, then do not neglect it, but be sure to try using it in photographing objects: it can be supplemented with special light reflectors, or can be combined with a lamp.

You can make your own light reflector using cardboard and foil.

Working with angles

An excellent assistant in photographing static objects and still lifes is a special tripod for the camera, which allows it to hold firmly in the desired position and take pictures even with very long shutter speeds. In addition to it, you can purchase a remote control, which will allow you to monitor the shooting from the side.

How to use a tripod to its full potential? With it, you can observe the plot and use many interesting angles - the main thing is not to forget to change them, otherwise the camera may stand in one position for the entire photo shoot, which will result in the same type of pictures. A camera tripod should highlight the variety of shooting angles, and in no case limit your plans. Change the location of the camera, move the tripod to the most unexpected places, change the light and settings - all this will help create a variety of shots that you want to look at.

When moving equipment, be sure to ensure that lighting is not obscured.

What background should I photograph against?

Proper selection of the background for a still life plays an important role in creating a high-quality photograph. The background should be simple and neutral, so as not to draw attention away from the subject. When choosing a backdrop, choose a plain wall, and if there is none, then use white cardboard or any other suitable color. You can also use a light and unobtrusive pattern, but only if it does not stand out too much, disrupting the harmony of the photo.

When choosing a background shade, pay attention to how it interacts with the objects being photographed. You can choose either a neutral white color or a more complex shade that will complement the picture.

If you are shooting small objects, you may not need a backdrop. Just choose a surface on which to place the desired item. A popular option in this case is black velvet fabric, which absorbs color perfectly and looks even.

Composition rules

As in any other form of photography, in still life the composition of the photograph plays an important role. It is she who largely determines whether the photo will turn out or not. A correctly selected composition will make your work unique, interesting to the viewer and very memorable.

The most important rule that any photographer knows is the rule of thirds. Follow it and you will get pictures that are beautiful to look at. Also, do not forget that the frame should be composed in such a way that there are no details distracting from the essence, but only all the essentials: highlight the main subject and the background.

To create beautiful photographs, use all your imagination and don’t be afraid of non-standard solutions. Think about where the viewer's eye goes when viewing a photograph, as well as how empty space in the frame is used and whether it should be filled. A lot of work needs to be done to understand how to present the photographed object in the best possible light, showing not only its beauty, but also reflecting the meaning put into the work. Yes, you also need to work on the context: you must decide whether the item will look good on its own, or whether it is worth adding additional details to it. Only after working through all of the above points will you be able to create an ideal frame from a compositional point of view.

Mistakes made in still life photography

Every photographer who is just beginning his journey in photographing static objects and still lifes faces approximately the same set of mistakes as the rest. Don’t be upset if you encounter difficulties at first, because they teach us the correct understanding of the filming process and how to work with all the subtleties and nuances of shooting still lifes. It is worth analyzing the most common reasons why errors and omissions are made in the work.

1. Not enough practice . All skills and work experience are acquired only during the filming process, so you need to train and sharpen your skills as much and as often as possible. By shooting in your free time, you will soon learn how to set the appropriate camera settings and work with many parameters. This also includes working with composition: the more you experiment, the faster you will begin to understand the principles of its construction and vision.
2. Undeveloped idea . It all starts with an idea, and only after a clear idea of ​​the future photograph has been formed, objects and details, as well as the background, are selected to match it. The artistic message and underlying meaning are very important, without them the entire process of shooting “something” will be a failure.
3. Poor lighting . You must clearly see that there is no excess or lack of light, otherwise any, even the most original and creative idea will be ruined. You can use daylight, special external flashes, lamps and even candles - the main thing is that the subject is properly lit. Don't forget that working with reflectors will improve the result, so try not to use direct light.
4. Working with complex equipment . A beginner, or any other photographer, does not have to chase expensive equipment - good still life shots can be obtained even with minimal costs. The quality of the photo directly depends on the skill, and not on how much money was invested in the work.
5. Failure to maintain style integrity . You can always experiment with colors, combinations of objects, textures and shapes. But you shouldn’t try to wedge an object into the picture that absolutely does not fit into the composition in terms of style, era or other obvious parameters.
6. Errors in background selection . The backdrop of a photograph is not a trifle at all, but a detail that can easily “kill” a photograph, making it unsightly and even repulsive. Approach with special care the choice of background for a still life: if it does not figure in any way in the idea and composition, then select neutral shades that will not draw attention to themselves. For example, you can choose white with a simple texture.

The main thing you need to know about successful and high-quality shooting of still lifes is to try to shoot constantly, to get better at every opportunity and even on any objects, and then you can achieve good results in this craft and even start making money from it.