Still life photography is a genre of photography used for the depiction of inanimate subject matter, typically a small group of objects. It is the application of photography to the still life artistic style. An example is food photography.

The plural of 'still life' is 'still lifes.' Unlike similar compounds that end in 'life' and take its conjugations, 'still life' is treated as its own unit that just happens to end in the word. When you're not pluralizing lives, but paintings.

This genre gives the photographer more leeway in the arrangement of design elements within a composition compared to other photographic genres, such as landscape or portrait photography. Lighting and framing are important aspects of still life photography composition.

Popular still life images include groups of flowers, food, and desk space, but still life photography is not limited to those 3 categories. Typically, still life’s are not close up to the subject nor far away, but at a very medium angle. The art in still life photography is often in the choice of objects that are being arranged and the lighting rather than the skill of the photographer.

The J. Paul Getty Museum, Los Angeles, mounted the exhibition “In Focus: Still Life” in 2010. The exhibition included works by renowned still life photographers such as Paul Outerbridge, Paul Strand, André Kertész, Albert Renger-Patzsch, Josef Sudek, Jan Groover, Sharon Core, and Martin Parr.

Still Life with Game Fowl, Vegetables and Fruits (1602),A still life (plural: still lifes) is a depicting mostly subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or (drinking glasses, books, vases, jewelry, coins, pipes, etc.).With origins in the and Ancient art, still-life painting emerged as a distinct genre and professional specialization in by the late 16th century, and has remained significant since then. One advantage of the still-life artform is that it allows an artist a lot of freedom to experiment with the arrangement of elements within a composition of a painting. Still life, as a particular genre, began with of the 16th and 17th centuries, and the English term still life derives from the Dutch word stilleven. Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Later still-life works are produced with a variety of media and technology, such as found objects, photography, as well as video and sound.The term includes the painting of dead animals, especially game. Live ones are considered, although in practice they were often painted from dead models. Because of the use of plants and animals as a subject, the still-life category also shares commonalities with zoological and especially.

However, with visual or fine art, the work is not intended merely to illustrate the subject correctly.Still life occupied the lowest rung of the, but has been extremely popular with buyers. As well as the independent still-life subject, still-life painting encompasses other types of painting with prominent still-life elements, usually symbolic, and 'images that rely on a multitude of still-life elements ostensibly to reproduce a 'slice of life '.

The painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Glass bowl of fruit and vases. Wall painting in (around 70 AD),Still-life paintings often adorn the interior of tombs.

It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Is mentioned by as a panel painter of 'low' subjects, such as survive in versions and provincial wall-paintings at: 'barbers' shops, cobblers' stalls, asses, eatables and similar subjects'.Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in the wall paintings and floor mosaics unearthed at, and the, including the later familiar motif of a glass bowl of fruit. Decorative mosaics termed 'emblema', found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life.By the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains, often with the accompanying phrase Omnia mors aequat (Death makes all equal). These images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600.The popular appreciation of the realism of still-life painting is related in the legend of and, who are said to have once competed to create the most lifelike objects, history's earliest descriptions of painting. As recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of, and still life.

He singled out, 'whose artistry is surpassed by only a very few.He painted barbershops and shoemakers' stalls, donkeys, vegetables, and such, and for that reason came to be called the 'painter of vulgar subjects'; yet these works are altogether delightful, and they were sold at higher prices than the greatest paintings of many other artists.' Middle Ages and Early Renaissance. See also:Though most still lifes after 1600 were relatively small paintings, a crucial stage in the development of the genre was the tradition, mostly centred on, of the 'monumental still life', which were large paintings that included great spreads of still-life material with figures and often animals. This was a development by, whose (1551, now ) introduced the type with a painting that still startles.

Another example is 'The Butcher Shop' by Aertsen's nephew (1568), with its realistic depiction of raw meats dominating the foreground, while a background scene conveys the dangers of drunkenness and lechery. The type of very large kitchen or market scene developed by Pieter Aertsen and his nephew Joachim Beuckelaer typically depicts an abundance of food with a kitchenware still life and burly Flemish kitchen-maids.

A small religious scene can often be made out in the distance, or a theme such as the is added to elevate the subject. This sort of large-scale still life continued to develop in Flemish painting after the separation of the North and South, but is rare in Dutch painting, although other works in this tradition anticipate the ' type of.Gradually, religious content diminished in size and placement in this type of painting, though moral lessons continued as sub-contexts. One of the relatively few Italian works in the style, 's treatment of the same subject in 1583, begins to remove the moral messages, as did other 'kitchen and market' still-life paintings of this period. Probably introduced the Antwerp style to Italy in the 1570s. The tradition continued into the next century, with several works by, who mostly sub-contracted the still-life and animal elements to specialist masters such as and his pupil. By the second half of the 16th century, the autonomous still life evolved. Old Woman Frying Eggs (1618), , is one of the earliest examples of.In, a is a still-life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple stone slab, and also a painting with one or more figures, but significant still-life elements, typically set in a kitchen or tavern.

Starting in the period, such paintings became popular in Spain in the second quarter of the 17th century. The tradition of still-life painting appears to have started and was far more popular in the contemporary, today and (then Flemish and Dutch artists), than it ever was in southern Europe. Had many subgenres; the breakfast piece was augmented by the, the flower bouquet, and the.In Spain there were much fewer patrons for this sort of thing, but a type of breakfast piece did become popular, featuring a few objects of food and tableware laid on a table. Still-life painting in Spain, also called, was austere. It differed from Dutch still life, which often contained rich banquets surrounded by ornate and luxurious items of fabric or glass. The game in Spanish paintings is often plain dead animals still waiting to be skinned.

The fruits and vegetables are uncooked. The backgrounds are bleak or plain wood geometric blocks, often creating a surrealist air. Even while both Dutch and Spanish still life often had an embedded moral purpose, the austerity, which some find akin to the bleakness of some of the Spanish plateaus, appears to reject the sensual pleasures, plenitude, and luxury of Dutch still-life paintings. Still-life (c. 1679), Municipal LibraryEven though Italian still-life painting (in Italian referred to as natura morta, 'dead nature') was gaining in popularity, it remained historically less respected than the 'grand manner' painting of historical, religious, and mythic subjects. On the other hand, successful Italian still-life artists found ample patronage in their day.

Furthermore, women painters, few as they were, commonly chose or were restricted to painting still life;, and are notable examples.Many leading Italian artists in other genre, also produced some still-life paintings. In particular, applied his influential form of naturalism to still life. 1595–1600) is one of the first examples of pure still life, precisely rendered and set at eye level. Though not overtly symbolic, this painting was owned by Cardinal and may have been appreciated for both religious and aesthetic reasons. Painted his Large Milan Bouquet (1606) for the cardinal, as well, claiming that he painted it 'fatta tutti del natturel' (made all from nature) and he charged extra for the extra effort. These were among many still-life paintings in the cardinal's collection, in addition to his large collection of curios. Among other Italian still life, 's The Cook is a 'kitchen scene' in the Dutch manner, which is both a detailed portrait of a cook and the game birds she is preparing.

In a similar manner, one of Rembrandt's rare still-life paintings, Little Girl with Dead Peacocks combines a similar sympathetic female portrait with images of game birds.In Catholic Italy and Spain, the pure vanitas painting was rare, and there were far fewer still-life specialists. In Southern Europe there is more employment of the soft naturalism of Caravaggio and less emphasis on hyper-realism in comparison with Northern European styles. In France, painters of still lifes ( nature morte) were influenced by both the Northern and Southern schools, borrowing from the vanitas paintings of the Netherlands and the spare arrangements of Spain. Italian gallery. A completely synthetic, still life, 2006 (by )During the 20th and 21st centuries, the notion of the still life has been extended beyond the traditional two dimensional art forms of painting into video art and three dimensional art forms such as sculpture, performance and installation. Some mixed media still-life works employ found objects, photography, video, and sound, and even spill out from ceiling to floor and fill an entire room in a gallery.

Through video, still-life artists have incorporated the viewer into their work. Following from the with and, the notion of the still life has also included digital technology. Computer-generated graphics have potentially increased the techniques available to still-life artists. And with 3D effects are used to generate still life images. For example, includes filters that can be applied to 2D vector graphics or 2D raster graphics on transparent layers. Have copied or visualised 3D effects to photorealistic effects without the use of filters.See also.

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New Haven: Yale University Press.External links. Media related to at Wikimedia Commons.