Imhoff Archive - A life of grain and pixels - Robert Imhoff - Photographer & Film Maker

Still Life

Spoons - RMIT studio. 1968 Hennessy bottle & ship - Station Pier, Port Melbourne. 1968 Glass of water and a pill - Brandt studio, South Yarra. 1971 Malaysian Curry - Hotel room (pop-up studio) Kuala Lumper, Malaysia. 1973 Soup label - Brandt studio, South Yarra. 1973 Cheese spread - Brandt studio, South Yarra. 1974 Tomatoes - Brandt studio, South Yarra. 1975 Singapore spices - Imhoff studio, South Yarra. 1976 Speidel craftsman's bench - Imhoff studio, South Yarra. 1976 Orange cake - Imhoff studio, South Yarra. 1976 Corn cob with label - Imhoff studio, South Yarra. 1976 Hand holding plastic bottle - Imhoff studio, South Yarra. 1976 Billiard ball on black perspex - Imhoff studio, South Yarra. 1977 Uniroyal furniture - Malvern, Victoria. 1977 Seafood Crepes - Imhoff studio, South Yarra. 1976 Chinese dish - Imhoff studio, South Yarra. 1988 B&H 'Golden Age' - Imhoff studio, South Yarra. 1979 Jai Ose bottle & pack - Imhoff studio, South Yarra. 1979 Fidji bottle in ocean at sunset - Norman Bay, Tidal River, Wilsons Promontory. 1979 Cheese bell - The Lighthouse studio, Prahran. 1982 Cracker barrel cheese, time machine - The Lighthouse studio, Prahran. 1982 Perspex engine (working engine) Model maker Herman Witte - The Lighthouse studio, Prahran. 1984 Kodak Clown. Model maker and animatronics director Ron Mueck - The Lighthouse studio, Prahran. 1985 Kodak Dracula. Model maker and animatronics director Ron Mueck - The Lighthouse studio, Prahran. 1985 Bonlac ice cream - The Lighthouse studio, Prahran. 1992 Taylor's red wine, high-speed pour - The Lighthouse studio, Port Melbourne. 2003

I found a certain degree of contentment when photographing still life objects, the subjects patiently sat still for hours on end as I fine-tuned both the design elements and lighting. Legendary New York designer/art director Alexis Brodovitch was renown for setting assignments for prospective Hapers Bazar magazine photographers. Brodovitch would have them photograph a white egg on a white background. He was forever telling them that their image was not good enough and to try again.

Each time I thought I had a good result, I would think of Brodovitch saying "Not good enough... try again, keep working at it"

I never considered reshooting a subject, there was just more shooting, until I was content and I thought Brodovitch would be happy.