Still Life Photography: A Contemporary Voice in Modern Art
I believe still-life photography matters more than we may think.
This is a counterpoint to an article written by my good friend, Rodrigo S-C. In the article, Rodrigo presents a well-reasoned question, “Is still-life photography still relevant?”
The article is here, and I recommend you read it. Rodrigo is a good writer and photographer and presents a strong argument with valid points.
This article presents my counterargument.
Still-life photography is not only alive and well, it is a vital part of the photographic arts.
Initially, I would argue that commercial photography and the use of still life is not only one of the more powerful tools advertisers have, but it is one of the best mediums for producers to present their work to the masses.
We know that great photography sells more stuff. Dozens of studies have shown that the best photography will sell more, raise the perceived value, and show consumers the vital information they want to see before a purchase.
Photographers like Gary Perweiler, Phil Marco, and Marcel Christ showed the world that things like shoes, plumbing, and fruit could not only look beautiful but help create more value in the eyes of the consumer.
But I am not going to focus on that area of photography. There is no doubt that commercial still life is important, and a very strong part of the commercial arts.
Instead, I will focus on the field of fine art.
Still-Life in Art Still Matters.
It matters because it shows us who we are.
What we value.
How we live.
What catches our eye and holds our attention.
First, let me defend the human attraction to making purely aesthetically pleasing things. From landscape to wildlife, photography embraces the natural world, adds the eye of the artist, and delivers something that we enjoy. And there is nothing wrong with that at all.
There is the same concern when photographing flowers, bottles, textures, colors, and the interesting item that is in itself a thing of beauty.
Dan Winters, a well-known editorial portrait photographer, creates things and then photographs them. These “Constructions” as he calls them exist both in the physical world, as well as in the two dimensions of a photograph.
Known for his commercial as well as fine artwork, Henry Hargreaves presents still-life in a contemporary and uniquely whimsical fashion.
Edward Weston’s Peppers, Robert Mapplethorpe’s Flowers, and the still-life work of Irving Penn opened up dialog about how we perceive the world around us, and how that world creates connections with humanity. These are important works and are treated as such by major galleries and institutions.
Cultural artifacts, style, and human fascination all play a part in our lives.
To dismiss still-life photography as irrelevant misses its profound impact on contemporary art and culture. From Irving Penn’s discarded cigarette butts to Mat Collishaw’s provocative installations, still-life photographers transform ordinary objects into powerful statements about life, death, beauty, and time.
And I believe that is an important function of art because it brings curiosity and a desire to understand the world around us.
Consider Robert Sulkin’s work exploring our relationship with technology. His images blend traditional still life forms with digital elements, creating a visual language that helps us understand our changing world. By using familiar still-life conventions, he makes complex ideas about artificial intelligence and technological alienation accessible and immediate.
And the medium continues to evolve. Olivia Parker’s transition from silver prints to digital captures shows how still-life photography adapts to new technologies while maintaining its core power. Her exploration of memory and time reminds us that objects carry both personal and universal meanings.
Still-life photography serves as our cultural historian.
From ornate Victorian parlors to stark modernist spaces, these images document how we live. A photograph of a retro radio next to today’s minimalist Swedish design tells us more than just how technology has changed — it reveals shifts in our aesthetic values and way of life.
The institutional art world recognizes still life’s importance. Major museums and galleries showcase these works not because they’re elite, but because they matter. This recognition encourages photographers at all levels to explore the medium, whether using professional gear or smartphones or whatever ‘comes next.’
Still-life photography isn’t documentation. Weston’s peppers and Mapplethorpe’s flowers show us beauty in unexpected places. They challenge our preconceptions about what deserves artistic attention.
Even purely aesthetic arrangements may serve a vital purpose — they train our eyes to find beauty in the mundane and discover what was previously unseen.
Nadav Kander, known for celebrity portraiture and landscapes also seeks meaning in the still-life work. His series, “Isolation” is both beautiful and haunting. His series, “Half Life” brings us face to face with disaster and yet it renders the devastation with acute attention to redemption and grace.
Today’s still-life photographers continue this tradition while addressing contemporary concerns. They explore identity, technology, consumerism, and environmental issues through carefully arranged objects and spaces. Their work proves that still-life photography remains a sophisticated artistic language capable of addressing complex social and philosophical issues.
And I think it helps to bridge gaps — between past and present, between traditional and digital art forms, between personal vision and universal experience.
In a way, it democratizes art while maintaining artistic rigor. It preserves our material culture while pushing creative boundaries.
Perhaps in our claim that still-life photography lacks purpose, we misunderstand its fundamental role in contemporary art, and the vital part humanity plays in its inception.
Still life photography matters because it helps us see, understand, and remember who we are.
And I believe that will always be relevant.
Hi, I’m Don Giannatti, a photographer and mentor for up-and-coming photographers. You can find me on my website, Don Giannatti, and at my Substack site, where I also publish for creative people.
