How communication transforms the photography of an artwork
On a recent visit to north Wales, I found myself thinking back to when I photographed Rhiannon Gwyn’s ceramic work back in 2022. I had the privilege of working with Rhiannon in the studio, to ensure we captured her work authentically, as she wished for it to be viewed digitally.
Rhian with artist Rhiannon Gwyn in the Photography Studio at National Museum Cardiff
Rhian with artist Rhiannon Gwyn in the Photography Studio at National Museum Cardiff
The experience of working with Rhiannon was the beginning of an exploration into new ways of working and photographing collections. Typically, a work of art or collection object is photographed on a neutral background, is lit evenly, and is colour managed with particular software and with a standard composition. This standardised approach to photographing collections has so many benefits: it means we are able to capture in larger quantities, bring awareness to our collections, and create high resolution images for our conservation teams to have reference images for years to come, to name but a few.
During 2023, we began having conversations about the idea of not just recording an object, but celebrating its uniqueness, and using the camera as a tool to bring out details and narratives. This work, in comparison to record photography is much slower as it’s very intentional and requires an understanding of the work and artist. This allows space for a photographer to respond to the work and its many nuances, and not just photograph the work in the same way every other object has been captured.
Bringing out textures and colours
When photographing Y Nefoedd yn Toddi i’r Tir, Rhiannon wanted to bring out the textures and colours in her work. She also wanted a lower angle to try and communicate on a digital platform the size and shape of the piece, rather than a photograph looking down to the work, which wouldn’t convey its true scale very well. Rhiannon and I spoke about these details and responded by changing the lighting, the backdrop, and camera angle.
Now that this practice has moved forward, and since I’ve visited north Wales and seen Rhiannon’s surrounding landscapes, there are a lot of ideas that come to mind of how this work could be photographed editorially. Watch this space…
LAYERS
LAYERS exhibition, National Slate Museum Llanberis, Photography by Rhian Israel
LAYERS exhibition, National Slate Museum Llanberis, Photography by Rhian Israel
LAYERS exhibition, National Slate Museum Llanberis, Photography by Rhian Israel
If you’re a fan of Rhiannon’s work, her exhibition LAYERS is available to visit at the National Slate Museum Llanberis until 1 November 2024. If you have a chance, I highly recommend a visit. The works are beautiful, and the colours are really emphasised through the display too.
Rhian Israel is a Cultural Heritage Photographer for CELF and is based at Amgueddfa Cymru. She is passionate about making art accessible to everyone and capturing visually engaging imagery, to tell the story of our National Collection.
LAYERS exhibition, National Slate Museum Llanberis, Photography by Rhian Israel