I've recently become fascinated with still life photography. One of my major role models and influences has been the brilliantly subtle work of Sue Foll. In spite of what Ansel said about landscape photography, I'm coming round to the view that still life is the ultimate test for a photographer - unlike landscape or wildlife photography there can be no excuses about the light. If a shot is rubbish, it's the photographer's fault. There are various styles of photographic still life - Instagram flatlays have recently given it a shot in the arm - but the original was to ape the style of the Old Masters, literally painting with light. Which is what I was doing here, or more accurately painting with shadows (because my diffuser is rubbish) to dodge the highlights. The process reminded me very much of film of Ansel Adams dodging prints, and my own feeble teenage darkroom attempts (as opposed to my own feeble teenage attempts in dark rooms). Anyway, expect to see more of the same here. But hopefully better - this one lacks the subtlety of tone I'm looking for. Further practice is required - the composition is terrible for one thing, fruit floating in mid air unanchored by context. And the light's not quite right, which, in a still life, is unavoidably my fault.
Nikon D7200
Tamron 17-50mm f/2.8
f8 50mm 2.5s ISO 100
