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…
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