assignment 8. still life
poor man’s pie
Poor man’s pie. October 31, 2021. Boston, Massachusetts. 1/10 s f11 ISO 200 28mm
description
For this assignment I chose to create a still life of something significant in my life -- a favorite memory from when I was a teenager. Sometimes on Saturday mornings, my mom would make biscuits from scratch. My dad and I would sit at the kitchen counter and the three of us would read the newspaper, talk, and eat biscuits with butter and jam as they came out of the oven in batches. My mom would always say that Grandpa Shepherd (her father-in-law) called biscuits and jam “poor man’s pie.” My grandpa had a lazy southern Kansas accent, and to this day I hear those words in his voice.
My mom passed away many years ago, so although this is a happy memory overall, there is a touch of sadness when I think of it and I wanted to subtly capture that in the still life. I chose props that were both literal and symbolic representations of my memory.
symbolism
Color: I chose yellow accents in the butter, bowl, and napkin because it evokes the warmth and happiness of this memory and because our kitchen was yellow. The deep purple color of the calla lilies helps balance out the jam in the lower left hand corner of the image, and also represents sorrow and loss, indicating that the memory is bittersweet. I used a white background and some white props because I like the visual impact of high key images and the overall brightness of the scene matches the predominant mood I wanted to capture.
Eggs: There are three eggs to represent my mom, dad, and me. One of the eggs is cracked because my mom is now gone. Eggs are a symbol of life in many cultures.
Calla lilies: White lilies are a symbol for the Virgin Mary in the Catholic Church, and I associate them with motherhood so I included one as an additional symbol for my mom. I chose a single white calla lily instead of the traditional Easter lily because her Catholic faith was strong, but she was also an independent thinker.
Other props: The pitcher, ceramic bowl, cloth napkin, and burlap aren’t specifically symbolic, but together they create a homey, comforting feeling that echoes the memory.
composition
I created an overall triangular shape for the composition, with the lilies, the jar of jam, and the eggs at the three corners. The butter is angled in such a way to “stop” the eye from sliding off of the image to the right. To get some height variation the bowl of biscuits is on a little riser made out of the lid of a box, and the jam jar is on a folded paper towel hidden under the burlap runner. These changes added more interest to the composition and help keep the eye moving, making it more dynamic.
lighting
The main light source is sunshine falling from a window on the left. I also used a broad beamed, diffuse flashlight from behind my right shoulder and a white plastic dinner tray as a reflector (off camera to the right) to keep the right side of the image from having too much shadow. A silver reflector is propped up on the right side as well, to bounce additional light back on the white pitcher, which I wanted to pop a little. I used a small piece of foil to reflect extra light back onto the eggs so they would stand out, since they are a key aspect of the photo’s symbolism.
reflection
My makeshift reflector setup. (Shot on my iPhone.)
This assignment created a few challenges for me. It took me awhile to hit on an idea since a lot of my things are in storage. I initially thought I would do the Vanitas style and use flowers and food since I thought two flat lay compositions or a still life of a significant subject in my life would require more personal belongings than I had available. When I started thinking about using food I remembered “poor man’s pie” and decided this memory would be a good basis for a composition of a significant subject in my life so I abandoned the Vanitas option. I really enjoyed the rest of the planning work, drawing on my art history background to help figure out how to represent the memory not only literally but symbolically.
The best lighting source in my apartment is natural light, and that fit with the memory but I ended up fighting the increasing light. It was pretty stressful. At one point I was literally pulling the burlap runner with everything on it across my dresser to get it out of the direct sunlight, and pulling my husband into the process to help me reset the scene. This was my own fault, because I spent at least an hour just setting up the composition -- starting with the pitcher and dishes, taking photos, downloading them, adjusting positions, then iterating on that approach until I had added all the components and set them exactly as I wanted. I even trimmed some of the fringe on the burlap that seemed too distracting. Then I did the same for lighting. Add a reflector, take a few shots, download them, adjust, repeat. And all of that before I even set the custom white balance and began taking shots that could potentially be submitted.
I am already beginning to apply what I’ve been learning about light in my casual photography. I ended up with a huge bouquet of calla lilies after the last two assignments, and when I wanted to take a photo of them with my iPhone I found myself carrying them around until I discovered a place where I could photograph them with side lighting. I’m hoping I will also remember to use this knowledge and position myself accordingly when I’m shooting on the fly and don’t have the opportunity to control a scene.
In the end it was probably best that I ran out of time in terms of lighting and had to stop the shoot. I may be far too anal retentive for studio photography. Ask me how I feel about it at the end of the course when I’m no longer traumatized.
The assignment was sweet in the end, though. After the sun was streaming in and casting shadows I broke down the scene and my husband and I had biscuits with butter and jam.