Archives for posts with tag: still life

Josh Olins

The December 2013 issue of British Vogue features the fantastic story ‘Still Life’, photographed by Josh Olins and styled by Lucinda Chambers with models Sam Rollinson, Anna Ewers and Ashleigh Good.  Taken from Fashiontography

All images © Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

Josh Olins

 

 

henk_wildschut_Photography
Examined. In 2012 the animal welfare organization Wakker Dier (‘Animal Awake’) launched a campaign against industrially bred broiler chickens. Wakker Dier gave this breed the name ‘plofkip’ (chicken fit to burst) because of its rapid growth within six weeks from a chick to a 2.3 kilo bird, having consumed exactly 3.7 kilos of feed to get there. The chicken in the photograph is getting a health check from a vet at the request of Wakker Dier.

When I was asked two years ago to make an in-depth study of the subject of Food for de RijksMuseum in Amsterdam, I was full of preconceptions about the food industry. I saw it as dishonest, unhealthy and unethical. More than that, it was contributing to the decline of our planet, unlike in the good old days, and I felt that the magic word ‘organic’ was going to solve everything. So when I embarked on this project, my first impulse was to bring to light all the misunderstandings about food once and for all.

After two years of research and photography, I realized that the discourse on food production can be infinitely refined and that this often puts supposed advantages and disadvantages in a new light. Scaling-up can actually enhance animal welfare, for example, and organic production is not always better for the environment. Often, an excessively one-sided approach to the subject of food is a barrier to real solutions. Food is simply too wide-ranging and complex a subject for one-liners or to be describing in terms of black and white.—Henk Wildschut

Dutch photographer Henk Wildschut enters a world of debate and controversy, documenting the modern processing and production of our food. After spending extensive time with those who handle the day-to-day management of various animals and plants, Wildschut concludes that the entire issue of demand, population growth and government regulation is far more complicated than the general public understands. Shot in a clinical but thoughtful method, Wildschut presents us with the facts that are before him, refusing to take up an agenda or make direct comment on what we see. Food was recently published as a photo book, full of further stories and images from Wildschut’s research. Taken from Feature Shoot

All images © Henk Wildschut

henk_wildschut_Photography
Semi-finished. With brown poultry it is possible to breed a variety that makes a visual distinction between a hen and a cock. A young female is brown and a young male white. This difference is essential at a hatchery for layer chickens, as males don’t lay eggs.The selection process is now less complicated and can be carried out by eye by non-specialized staff. Using a conveyor belt, 20,000 brown and white chicks can be separated every hour.

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Sexing. As for white poultry, there has been no success as of yet in achieving a clear visual distinction between the sexes. A specialized external firm is enlisted to sex these chicks. The difference can be read off in the wing feathers. One specialist can sex 25,000 chicks a day. The male chicks are carried off on a special production belt to the gassing unit.

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Feces. After three weeks in the Patio module, the chicks–now a full 700 grams–are carried by a conveyor belt to the ‘ground floor’, where within three weeks they will grow to 2.5 kilos. After each cycle, the two levels are washed and disinfected. Once the manure is removed, the whole area is cleaned with a detergent and later thoroughly disinfected with a sprinkler. The process of cleaning takes three days for the Patio module and two days for the ground floor.

henk_wildschut_Photography -196 C. A bull produces an average of 480 doses per approved ejaculation. A popular bull can supply up to 300,000 doses in its lifetime. Each such dose is collected in a straw. The straws are stored in liquid nitrogen at a temperature of -196 degrees Celsius. Every beaker holds 3000 straws. Altogether there are some 600,000 straws in a container. The colour, together with a code, name and date, makes each straw unique.

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Washing. The veal industry took off in the Netherlands at the end of the 1960s as a response to the growth of the dairy industry, which had created a surplus of calves. The Ekro slaughterhouse processes 350,000 calves a year and is the world’s largest veal producer.

henk_wildschut_Photography Collecting. A calf’s liver has an average weight of 4.5 kilos and after removal of the carcass it cools off to 1 degree Celsius within 24 hours. The racks speed up the cooling process and prevent damage to the delicate organ tissue.

henk_wildschut_Photography
Quarantine. The smoking compartment in the canteen is there to combat infection. Staff are not allowed to leave the building during working hours. The company is hermetically sealed off from the world at large to minimize the risk of infection. There is overpressure throughout the interior to ensure that polluted air is kept out

henk_wildschut_PhotographyGrowth. Sweet pepper producer De Wieringermeer grows red, yellow and green sweet peppers on a 40-hectare site. The colour is determined by the stage of the ripening process (green is unripe, red is ripe). The plants grow between 5 and 10 cm a week. The red-and-white ribbon marks off a compartment of one hectare. This division into hectares gives a good understanding of the growth process among young plants; the work can then be planned accordingly.

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2,400 m2. Torsius has a total of 120,000 laying hens. Besides the standard free-range birds the hatchery has a further 5700 organic laying hens. At Torsius there is no need to debeak the chickens; the barns are minimally lit with special high-frequency strip lighting so that the chickens are kept calm. They also have enough distractions and enough room to move. Stressed-out chickens tend to peck others, something that happens a lot less at Torsius. Torsius produces about 100,000 eggs every day, putting it in the major league among hatcheries.

henk_wildschut_Photography
Pasture. The Brandsma Dairy Farm is a dynamic-organic company of 55 cows and 25 sheep. Brandsma is widely known as an ‘ear-tag objector.’ For them, ear tagging is a violation of the animal’s integrity. After 20 years of legal wrangling, these farmers are allowed to register their animals using the traditional I&R method, that is, hide brands and other surface marks. For six months in the year, Brandsma’s cows have free access to the pastures around the barn. For the product to qualify as pasture milk, the cows need to graze outdoors for 120 days a year, 6 hours a day.

henk_wildschut_Photography
Lavatory. Research on Pigsy, a toilet for pigs, began in 2012. A pig usually looks first for a place to sleep and then–at a comparatively great distance away–a place to defecate. Piglets are trained early on to relieve themselves in a special corner of the shed. A major advantage is that the feces can be collected and removed in a shorter time. This lowers the level of ammonia emissions in the shed, the advantage for the farmer being that there is no further need for air washers.

Henk WildschutShower. Paul Steenbekkers is manager at one farm, Ven/Heide, where they keep 1700 sows and 3300 piglets. Paul works from 7:30 in the morning until 10 past four in the afternoon. All staff and visitors are required to take a shower before entering the farm and don a complete set of company clothes. These strict rules on hygiene have meant a reduction in the use of antibiotics in recent years of 70%. The administering of antibiotics was a preventive measure until 2009.

henk_wildschut_Photography
Export. To avoid the fish becoming dehydrated they are coated in a glaze solution. The deep-frozen fish are then drawn through a shallow layer of water. This treatment, which is sometimes done repeatedly, adds to the weight of the fish so that more can be sold for less.

henk_wildschut_Photography
Infusion. By optimizing plant growth conditions—the ideal mix of water, light, nutrition, CO2 and temperature—PlantLab seeks to revolutionize plant cultivation. According to PlantLab, this way plants produce up to 10 times more than in a regular greenhouse and use something like 90% less water. And there are no pesticides involved. A plant treated this way proves to be no longer susceptible to diseases and epidemics.

Amber McCaig

By using a combination of portraits and still life elements, I have been able to create an exploration into the idea of identity and imagination, providing an insight into what it is like to live out your fantasies in everyday life. Spanish pirates, Venetian noblewomen and 11th century Vikings have escaped out of the darkness of the past and are now living in the future, placed on a stage for all to see. Laden with armor, treasure chests, maps and lore, these fantasies show the power of our imagination and what we can create if we dare to dream.
— Amber McCaig

Australian photographer Amber McCaig explores when history and storytelling converge in the colorful and elaborate world of Medieval and Renaissance reenactors. The Society for Creative Anachronism is an organization where thousands of dedicated people are committed to researching and recreating the arts, skills, and traditions of pre-17th century Europe. Members feast, fight, and dress all in the era of their choosing, often using the transformation to alter their own personalities and temperaments. Here one can choose who they wish to be and often craft a ‘hyper’ version of themselves in a way unavailable in everyday society. McCaig’s interest in this transformative identity plays out in painterly photographs full of dark, deep tones and stoic poses. The mixture of portrait and still life act as potential clues to who these characters may be and every detail is constructed with great care. Unlike the every day social struggles and pretensions, Imagined Histories is a world where the past and future can be all one’s own. Imagined Histories is currently showing from November 6-23 at the Edmund Pearce Gallery in Melbourne, Australia. McCaig also recently won the Ballarat International Foto Biennale portfolio review prize for the same work. Taken from Feature Shoot

All images © Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Amber McCaig

Corinne_Botz_Photography

The Nutshell Studies of Unexplained Death is New York-based photographer Corinne May Botz’s exploration of eighteen miniature crime scene models constructed by Chicago heiress and criminologist Frances Glessner Lee, who is said to have revolutionized crime scene investigation. She built the models in the 1940s and 50s and they were used to train crime scene investigators, who would have 90 minutes to analyze the scene. They depict real crime scenes and are incredibly detailed—”shades can be raised and lowered, mice live in the walls, stereoscopes work, whistles blow and pencils write.” Botz adds a level of intimacy to the miniatures in the way she shoots, almost as if we are inside the spaces—she intends for us to lose our “sense of proportion and experience the large in the small.” Botz has spent seven years on the project, making over 100 photographs of the models while extensively researching and writing about Lee, who she considers “her collaborator.” The work and writing was published into a book in 2004. She says of the project: My writing explores how Lee’s experience of domestic space informed her creations. Lee followed the role prescribed for her as an upper-class woman, but domestic life never suited her. The houses where she lived were a place of refuge, personal expression, and pride, but they were also a source of disempowerment and anxiety. While she was unhappy with the roles she was forced into as a woman, she maintained assumptions about a woman’s place in the home. Interestingly, she advanced in a male dominated field by co-opting the feminine tradition of miniatures. The models undermine the notion of the home as a safe haven and reveal it to be a far more complex sphere. All of the models depict lower middle class interiors, and the majority of victims are women who suffered violent deaths in the home. Taken from Feature Shoot

All images © Corinne May Botz

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Corinne_Botz_Photography

Sara_Cwynar

Brooklyn-based photographer Sara Cwynar’s ‘Color Studies’ series is a contemporary take on traditional still life – composed in a playful, yet meticulous way. Cwynar was partially inspired by her love of collecting, but also by her desire to investigate how the meaning of objects and imagery changes over time. We recently spoke to Cwynar about this series. Taken from Feature Shoot

All images © Sara Cwynar

Sara_Cwynar

How did this project come about?
“This series was inspired by old or obsolete stock photos that I had collected – where something once desirable and cutting-edge had come to look absurd or even sinister. I am very interested in this idea, the way that images change over time and take on a life of their own, gaining or losing value as they circulate. I began the series as a means of delving further into this sort of image, remaking them under my own terms using my own collected materials. I used the category of color as a sort of visually immediate organizing principle through which to investigate this type of image using my own archive or collection.”

Sara_Cwynar

What were you trying to achieve?
“I think as you work different goals often come up, but initially it was to work through these discarded images using everyday or useless images and objects, to question what is worth taking a picture of and what kind of picture maybe have disappeared from our purview in favor of something newer. Also, simply as a means of organizing my personal archive or collection in a way that could open to larger ideas about image culture. Art is a means for me of working through my saved materials and my hope for it is that this private collection opens to bigger ideas through the making of work.”

Sara_Cwynar

Sara_Cwynar

Was there a process for sourcing all the items?
As I mentioned, I am a constant hoarder, I save things everywhere I go and then when I am making work I have this huge repository of saved images and objects to pull from. My studio is just packed with stuff. It comes from everywhere, the garbage, scraps of images from other projects, flea markets, by the pound stores, my parents’ basement.

How did you approach the arrangement of all these objects?
‘Largely just through moving things around in the studio for hours and hours! And I am trained as a graphic designer, I still work in this field sometimes, so I always tip my hand as a designer. I think that sensibility comes through in the pictures.

Sara_Cwynar

Jim Golden

Photographer Jim Golden clearly has a knack for the still life. His graphic collections of themed objects, styled by Kristin Lane, double as a myriad of things: an abstract collage, a visual checklist, a beautiful display case or a deconstructed how-to guide. Golden worked as a high-end compositor and visual effects specialist in New York for several years. He now lives in Portland and operates a full-service photography and digital imaging studio. Selected prints from this series can be purchased here. Taken from Feature Shoot

All images © Jim Golden

Jim Golden

Jim Golden

Jim Golden

Jim Golden

Peter Lippmann is an American-born photographer who has worked in Paris for over 25 years. He specializes in still life, advertising, magazine work, food, and trompe l’oeil. This work, Paradise Parking, offers ‘a poetic look at the relationship between the creations of man and mother nature’. Lippman is represented by Gallery SophieMaree in Amsterdam. Taken from Feature Shoot

All images © Peter Lippmann

Peter-Lippman photography

 

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

Peter-Lippman photography

In Earth Laughs In Flowers David LaChapelle appropriates the traditional Baroque still life painting in order to explore contemporary vanity, vice, the transience of earthly possessions and, ultimately, the fragility of humanity. Expectations of the still life are satisfied through the inclusion of symbolic objects such as fruit, flowers and skulls, but also upended by the insertion of everyday items such as cell phones, cigarette butts, balloons, Barbies, and a Starbuck’s iced coffee cup. The title Earth Laughs in Flowers comes from the poem “Hamatreya” (1846) by Ralph Waldo Emerson (1803-1882), in which flowers articulate nature’s ridicule and contempt for human arrogance in the pretense to dominion over earth. The titles of the works refer to the cycles of the seasons and of life: Springtime, Late Summer, Early Fall, Deathless Winter, and Concerning the Soul. In typical memento mori fashion, the works invite us in, beg our self-reflection, and remind us to enjoy life before it’s over. Earth Laughs In Flowers will be on view at Fred Torres Collaborations in New York from February 23 through March 24, 2012. Taken from Feature Shoot

All images © David LaChapelle

David LaChapelle flowers

David LaChapelle flowers

David LaChapelle flowers

David LaChapelle flowers

David LaChapelle flowers

David LaChapelle flowers

David LaChapelle flowers