This series was shot whilst I was experimenting with throwing wine around for a commercial project.
Though the initial project ended up going in a different direction these experimental shots seemed worthy of sharing.
For the app we each created a new body of personal work and this is a preview of my project.
The genesis of this project was in a job that I shot last year when I spent a couple of weeks photographing flowers. I spent days and many trips to the flower markets looking for the most perfect specimens I could find. Photographing flowers, which we have such pre-conceived notions of beauty about, was much harder than anticipated. Trying to translate this concept of perfection into something as concrete as a photograph was frustratingly difficult.
For this project I reversed the process and I looked for the most ordinary plants and flowers I could find – mostly they are a collection of weeds. These are plants we are normally oblivious to, they are so common we rarely see them.
Removing them from their context and framing them in the studio transforms these plants. Their nature lacks a pre-conceived notion of beauty, which conversely accentuates it.
This a really nice example of how personal projects can translate into commercial work.
The previous post of things flying, bouncing and smashing got a great response and it also caught the eye of the Y&R advertising agency in New Zealand.
Along with some help from Cream we created these two ads for Ajax.
Still life photography often requires a lot of preparations and testing – sometimes these tests end up being more interesting than the intended outcome.
I spent ages dropping things. I began with plastic then moved on to glass, adjusting triggers, timings and lighting. There was one thing that was really a surprise and that was how far glass bounces, especially when it is full of beer…
In most of these shots the objects are ‘on the bounce’.
The process of photography has changed almost beyond recognition from its inception.
Going back and shooting film feels almost nostalgic now. This series was shot on medium format film on a wooden pinhole camera.
With no lens, no viewfinder and without an accurate shutter the process dictates a slower and more considered approach. Exposures take minutes or hours and the final images reflect this meditation.