joe sarahComment

joe sarahComment
      I love the french accent. If it wasn't for my friend Laureline's insistence on pronouncing the 'ugly' in 'ugly Vegetables' as 'hugly' (Bit Trump-esque I now realise, should I be worried?) We'd never have started calling these curvaceous carrots Wonky vegetables. It seemed to take off too which is nice. Other than accents, Laureline has very little to do with the rest of the story, So I'll move swiftly, and abruptly on.     I wanted to take a step away from the top shot, day light lit photos we see all over our Instagram and having spent a lot of time in Amsterdam. When I was non compus mentus I'd always go to the Rijksmuseum and devour the Rembrandts in particular. I loved how he made the austere beautiful. Much of this I felt through the light (The technique used by Rembrandt, Van Gogh and other renaisance painters known as chiaroscuro or light-dark contrast provides an abundance of moodiness and sends chills down my spin) and it was this that I intended to recreate for our ugly vegetables.      It was simple, break every rule, no habit, I knew about lighting. Gone was the fill and the backlight. Just a single source - camera left - and a lot of black everywhere. The image was exposed to the lightest tone, the white carrot with her legs crossed. No highlights to be seen just deep shadow holes of darkness.

I love the french accent. If it wasn't for my friend Laureline's insistence on pronouncing the 'ugly' in 'ugly Vegetables' as 'hugly' (Bit Trump-esque I now realise, should I be worried?) We'd never have started calling these curvaceous carrots Wonky vegetables. It seemed to take off too which is nice. Other than accents, Laureline has very little to do with the rest of the story, So I'll move swiftly, and abruptly on.

 

I wanted to take a step away from the top shot, day light lit photos we see all over our Instagram and having spent a lot of time in Amsterdam. When I was non compus mentus I'd always go to the Rijksmuseum and devour the Rembrandts in particular. I loved how he made the austere beautiful. Much of this I felt through the light (The technique used by Rembrandt, Van Gogh and other renaisance painters known as chiaroscuro or light-dark contrast provides an abundance of moodiness and sends chills down my spin) and it was this that I intended to recreate for our ugly vegetables. 

 

It was simple, break every rule, no habit, I knew about lighting. Gone was the fill and the backlight. Just a single source - camera left - and a lot of black everywhere. The image was exposed to the lightest tone, the white carrot with her legs crossed. No highlights to be seen just deep shadow holes of darkness.