Carl Warner.
Foodscape photographer Carl Warner uses fresh fruit, vegetables and meat to bring his imagination to life. His latest book, A World of Food, includes this picture, entitled 'Candy Cottage'. He compares his work to Willy Wonka's creations in Charlie and the Chocolate Factory.
The ‘Foodscapes’ are created in Carl’s London studio where they are built on top of a large purpose built triangular table top. The scenes are photographed in layers from foreground to background and sky as the process is very time consuming and so the food quickly wilts under the lights. Each element is then put together in post production to achieve the final image.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”
Once the drawing is agreed upon, Carl then works out what each part of the scene will be made from, and working with his food stylist they together determine the best ingredients to work with in order to achieve his aims.
Carl Warner does these shoots because he said;
“I’ve always enjoyed the discipline of working in the studio, and the spontaneity of working outdoors in natural light, as you never know what you’re going to get. With my ‘Foodscapes’ I can now put together the knowledge of natural light with the control of recreating it in the studio in order to bring out the colours and textures as well as the beauty of a scene”.
The ‘Foodscapes’ are created in Carl’s London studio where they are built on top of a large purpose built triangular table top. The scenes are photographed in layers from foreground to background and sky as the process is very time consuming and so the food quickly wilts under the lights. Each element is then put together in post production to achieve the final image.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”
Once the drawing is agreed upon, Carl then works out what each part of the scene will be made from, and working with his food stylist they together determine the best ingredients to work with in order to achieve his aims.
Carl Warner does these shoots because he said;
“I’ve always enjoyed the discipline of working in the studio, and the spontaneity of working outdoors in natural light, as you never know what you’re going to get. With my ‘Foodscapes’ I can now put together the knowledge of natural light with the control of recreating it in the studio in order to bring out the colours and textures as well as the beauty of a scene”.
Planning Shoot 1.
Shoot 1.
Critique.
WWW: My Photos clearly showed a scene, and I have used the food to relate to real things ( e.g. the broccoli as trees )
EBI: I had shown shadows more, and used the light differently
EBI: I had shown shadows more, and used the light differently
Artist Study: Duane Michals.
Critical Analysis.
The name of this piece is called Rencontre Fortuite and it was made in 1972. Duane Michals is an American photographer, and his work makes innovative use of photo sequences, often incorporating text to examine emotion and philosophy. The meaning of Rencontre Fortuite is 'a chance encounter', this fits in with the story he is telling within the photos, how two men stumble across each other. Though he has not been involved in gay civil rights, his photography has addressed gay themes. In discussing his notion of the artist's relationship to politics and power however, Michals feels ultimately that aspirations are useless.
This sequence of photos start with two men walking down opposites side of an alley, in opposite directions. The second photo shows the men have walked further down the alley towards each other. In the third as the men pass one of them turns to look at the other, and the fourth shows them walking away from each other. In the fourth photo the man walking towards the camera has a questioning look on his face and in the fifth he turns back around again to look. Finally in the last photograph there is only the man who was walking away from the camera, he is stood looking back behind him where the other man has been just moments before.
The formal elements used in this piece of work are shape, composition, and line. He thought about the shape and positions the men are stood in and where they are placed, this was important to make the story come to life. In the fifth photo you can clearly see how Duane Michals had thought about the position both men were in, the distance and the facial expressions that they hold. The use of line is shown using the wall. This helps to shown that the men were either walking towards or away from you, and the wall helps you to focus your eye down the photo, and to focus the viewer on to a specific point. He also uses colour in his photos, the use of black and white adds to the mystery and feeling of the photo.
This photo makes me feel curious and tense. I want to know what both men were thinking and why both men stopped to look at each other. Also the pictures show tension between the men and the tense atmosphere travels through the photo onto the viewer.
This sequence of photos start with two men walking down opposites side of an alley, in opposite directions. The second photo shows the men have walked further down the alley towards each other. In the third as the men pass one of them turns to look at the other, and the fourth shows them walking away from each other. In the fourth photo the man walking towards the camera has a questioning look on his face and in the fifth he turns back around again to look. Finally in the last photograph there is only the man who was walking away from the camera, he is stood looking back behind him where the other man has been just moments before.
The formal elements used in this piece of work are shape, composition, and line. He thought about the shape and positions the men are stood in and where they are placed, this was important to make the story come to life. In the fifth photo you can clearly see how Duane Michals had thought about the position both men were in, the distance and the facial expressions that they hold. The use of line is shown using the wall. This helps to shown that the men were either walking towards or away from you, and the wall helps you to focus your eye down the photo, and to focus the viewer on to a specific point. He also uses colour in his photos, the use of black and white adds to the mystery and feeling of the photo.
This photo makes me feel curious and tense. I want to know what both men were thinking and why both men stopped to look at each other. Also the pictures show tension between the men and the tense atmosphere travels through the photo onto the viewer.
Planning Shoot 1.
Shoot 1.
Critique Sheets.
Emily: WWW - Your website looks really professional with headings.
- You have completed all the shoots with plans.
- You have completed research.
EBI - You could get other people to critique your work instead of self-critique.
Jasmine: WWW - You kept to the same theme.
- You have an interesting story behind your photos, and have thought about how you have set it out.
EBI - Your titles stood out more.
My Next Steps: - To go back through my shoots and to get another person to critique my work, this will help me to improve my work even more and will help me to develop my ideas.
- You have completed all the shoots with plans.
- You have completed research.
EBI - You could get other people to critique your work instead of self-critique.
Jasmine: WWW - You kept to the same theme.
- You have an interesting story behind your photos, and have thought about how you have set it out.
EBI - Your titles stood out more.
My Next Steps: - To go back through my shoots and to get another person to critique my work, this will help me to improve my work even more and will help me to develop my ideas.