Professor TAI in the area of ART GALLERY, Ale Megale gives us this interview during the still life photography exhibition that he prepares together with his students TAI with some of the most outstanding works of the Diploma, Degree and Master.
Photographer and retoucher specializing in the world of advertising, one of his specialties is advertising still life photography. He has won several Lux awards doing numerous jobs in fashion, beauty, decoration and editorial photography for brands such as Campofrío, El Corte Inglés, Germinal, Movistar or Unicef.
How did you get started in still life photography? What initially attracted you to this type of photography?
I am a commercial photographer specialized in advertising and that is where still lifes come from., which is a part of my job. What attracted me to still life photography is that in advertising there is a lot of still life work and it is a very technical type of photography that I really like. It is very creative, but also a very demanding photograph in relation to lighting, framing, composition...and that was a challenge for me.
What inspires you to create still lifes? Are there any photographers or artists who have influenced you in particular?
many of the times the creative part of the still life is imposed by the client and in the case of magazine publishers there is more freedom, but you have to respect the editorial line of the magazine. I like to take it around and deconstruct the subject that needs to be photographed.
Tell us how you select the objects you use in your still lifes: are there any specific criteria behind these choices? Do you prefer everyday objects or are you looking for more unusual items?
The objects I photograph are always proposed to me by the client or the magazine. In the composition I mix main objects with secondary objects, I like to play, turn it around...If there is something with a lot of technology I like to play with organic things…make it as low tech as possible, depending on the type of work obviously.
I do not choose the objects that I photograph, they are usually the client's or the magazine's product. The environments I create to photograph these products are created by me. Even if they give me the theme, I like to play with the deconstruction of that. If I work with a lot of technology, I like to look for elements that are almost the opposite, often organic... or simply very geometric compositions. I like to play with gravity and create things that would be impossible...because it draws a lot of attention and generates a great contrast.
I like to play with deconstruction, gravity and impossible scenarios
How do you plan your still life photography sessions? Is there a creative process you follow?
Planning for still life photography is very important, from the main thing, the concept and what you want to do to how you are going to hold something: if you have to carry threads, tweezers...You have to have foresight to be able to leave the still life as you have planned. You may have a great idea but if you are missing an object or element to hang what you were planning to hang, you cannot do a session because you do not have threads, for example.
Planning for me is the essential point for a good session. I always start with concepts and once I am clear about what I want to photograph, I move on to sketches. In the sketches I include all the elements necessary to photograph: flashes, tables, backgrounds, clamps and everything I need.
What equipment do you usually use? Is there a favorite lens or camera that you prefer?
I usually work with Profoto and Godox. Regarding objectives, it depends on the type of still life you are going to make. Lately I use fixed lenses, I'm working with Sony and I am delighted with Sony. I sometimes use medium format Fuji, in fact I am working with mid-range lenses, an 85mm 1.8 from Sony, which is very good and I quite like it. But yeah, basically Sony and Fuji.
How do you choose the lighting you use in your compositions?
I always choose lighting thinking about two points: first the environment I am going to create and the type of photography I want to take. If I want something more dramatic, I analyze the shape of the object and how it is designed to be able to accentuate the shapes and achieve a good result.
Personally, in the case of a commercial still life I try to mix the two, The main idea is always to create the atmosphere or mood of the session and in more detail look for all those elements that the object has, such as metal parts or bevels that need special lighting or to be accentuated through more photos. Many times you have to take more than one photo to get a final photo. For example there is shoots which are very complicated because the subjects are small objects and you have to do independent lighting for each element.
What is your personal approach to post-production of your still life images? Do you have any favorite software or techniques?
I usually take several photos to get the final result. You have to erase cables, erase magic arms...retouch the tones and contrasts. It is not only the assembly process, but the process of colorful that you are going to work with the final photo. I always capture with Capture One, I do the entire process with Capture One and finish with Photoshop.
Is the balance between editing and naturalness important in your photographs?
in my photography There are many times that the photos are not natural at all., playing with gravity to get that touch of attention, playing with breaking these schemes... They are highly produced photos with very measured lighting. which would be almost impossible to do in one take. I look for the concept and the image above the naturalness of the photography.
I look for the concept and the image above the naturalness of the photography
What do you consider to be the biggest challenges when photographing still lifes?
The biggest challenge is the technical part. Creating the idea is fine but there are objects that are very small and have a lot of reflection and all of that must be controlled. Spherical objects, for example, reflect the entire study and you have to put small reflectors so that it reflects what you want. It is a very punctual and very manual job when you have highly reflective objects.
Do you have any advice for those just starting out in still life photography? Are there any common mistakes you see in beginners that you could help them avoid?
My advice is to always think about the concept. And start with simple things, powerful but simple. With a good idea and a good flash you can make an incredible still life. And little by little, when you are familiar with lighting and understand how light reacts to objects, increase the difficulty. Don't fall into the idea that you have to use fifty flashes to be good. Every image and every concept needs a light, so you have to start little by little, gradually and understanding the entire concept of lighting a still life.
The mistake is taking a step larger than your leg. You have to go little by little, look for more graphic and more powerful images, know how to use objects, know how to place them well and progress from simple compositions to more complex ones.
My advice is to always think about the concept, with a good idea and a good flash you can make an incredible still life
How do you see the evolution of this type of photography in the future? Is there a gap in the industry?
Still life is a classic form of photography and there will always be a gap in the industry, from conceptual still life to product photography or ecommerce silhouettes, which any brand needs today. So from there until a campaign the still life will happen.
Photographs: Ale Megale ©
