Ceramics photography for Kerrie Lowe Gallery

The Kerrie Lowe Gallery contacted to produce some photos for an upcoming exhibition.


When photographing platters or plate-like-things you generally want to show a bit of top view to indicate the general shape of what to expect and a bit of side view to show the extent of the depth. The exception comes when there is noteworthy detail on the inside, then you just show the top view, as that is the most informing perspective that features the content. To overcome the resulting sense of 2D flatness, we add a bit of depth with shadows and reflections. Arty photos of plates and 2D objects will show them lifted on one side, balancing precariously on an edge, or hovering. Catalogue editors want just the objects, so the viewer can compare apples to apples removed from any original background. Magazine editors and some artists favour simple light grey backgrounds so the photo is self framing, separates from the page, gives a sense of weight, and enhances colour. Then went it comes to promotion material like postcards, we expect maximum occupancy and zing to fill the page area, with interesting lighting and some sense of semi natural curvature. And then there is the editorial style that looks like a readily achievable point-and-shoot job. So what to do? Bring it all! When trying to impress a new client we want to appear to effortlessly over-deliver, showing a spread capabilities and see which direction they choose.

Works by Sharon Alpren.

https://goo.gl/photos/9vP6xKkTVZWbbdGU6 SA

An alternative approach to the above concerns sets of objects. When photographing sets, consistency is the key. The overarching goal is to do away with distractions, styling, and background or scale inconsistencies (a side effect of subject centric photography) but still retain grounding when possible (typically by way of soft symmetrical shadows or reflections). All pics are similar together, but each piece is a work of art individually.

Works by Geoff Crispin.