I HATE WINTER. Which means that, from December to March, I’ll do pretty much anything to avoid leaving the house unless it’s strictly necessary. That means mining inspiration from my hermit-like existence, and that means still life work.
I am also a creature of habit. This year, like last year, I bought my wife roses for Valentine’s Day, and just like last year I asked if we could let them sit and dry out in their vase to provide me, once again, with a subject for some still life shooting.
A week or so after Valentine’s Day I decided to take my first shot at my wife’s roses, which had just started to dry out at the edges of their petals and drop their leaves, though the hearts of each flower retained some moisture and colour. I set up in the kitchen again, only this time I had new pieces of gear I didn’t have last year – a macro ring for my Fuji X-T2, a cable release and a lightweight travel tripod with a ball head.
Locked off and holding my breath, I was able to shoot at much lower ISO speeds than I had a year previous. It took a while to get used to the macro ring; the autofocus on the Fuji needed to be disabled to find the sweet spot on each flower, and I had to pace myself to let the camera and the flower stop moving after I composed and focused, breathing in and out before I triggered the cable release. As the afternoon light in the kitchen started to dim, I pulled out a pair of LED mag lights and used those as hard light sources.
Two weeks later, after the buds in the vase had dried out even further, I got back to work with a black backdrop instead of the white. By this point the pink roses had faded while the red ones had darkened considerably. I started earlier in the afternoon to use as much natural light as I could, which meant that by the time I probably should have pulled out the mag lights, I had been at it for a couple of hours and felt inspiration waning.
I know I’ll be at it again, same time next year no doubt, though earlier if my wife gets roses for her birthday. One day, God willing, I’ll be doing this work in the studio I long to build out back in the garage. It’s hard to describe how immensely satisfying shooting this work feels.