Still Life Part VII Shadows by Stefania Piccioni

In the study of history of photography it’s easy to see how light is fundamental, in fact photographers of every ages have been able to create atmospheres, communicate sensations and show the movement of surfaces through more or less intense contrasts of lights and shadows.
Still Life Part VII Shadows | Stefania Piccioni

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In the study of history of photography it’s easy to see how light is fundamental, in fact photographers of every ages have been able to create atmospheres, communicate sensations and show the movement of surfaces through more or less intense contrasts of lights and shadows.

Even in the observation of reality we realize that even most common objects get particular visual aspects thanks to light. My pictures may recall the theory of shadows in descriptive geometry, or something similar realized with a camera, or with a smartphone, in substitution of a Radiograph, with bottles instead of solids. For this we study the theory of shadows, application of descriptive geometry that deals with effects produced by light on an opaque body, giving its scientific explanation (the theory of shadows recalls the theory of oblique projections, given by G. Mone). To make these still lifes I always took pictures from 9.30 to 11 am, and only if there was the sun, which I chose as bright source, that projected shadows on a definite support plan. These pictures are a middle way between  a strict geometrical synthesis and an imaginative compositional study. To strictly white jars and bottles I often pull together a small broken mirror that recalls the sail of a boat and reflects the shadows of bottles or light shapes which I created with wire. The shapes crossed by the lights seem to vibrate and become evanescent. For the choice of objects of my compositions I privileged contemporary and linear ones. The potentiality of ambient light let me accentuate contrasts and make all the drama emerge from shadows. The shadow of the bottle is almost a declaration of intents that overturns conventions of genre: the bottle, which is the usual protagonist, becomes completely decentralized from cuts of light, which decline the real object in support of its projection. All the pictures were both taken with a digital reflex or with a smartphone

About Stefania Piccioni

Stefania Piccioni was born in Ascoli Piceno in 1970. And ‘daughter of Art, began photographing young, in 1989 obtained a maturity of Applied Arts in the “Art Photography” section at the’ State Institute of Art “O. Licini” of Ascoli Piceno. 2014 Third Biennale of Salento, Lecce.  She won the third prize for best photography b / w “Thousand Ways of Being a Woman” Gallery Dream Factory “- Mi. In 2015 and 2016 She was selected editions of the Art Collective “In Contemporary Porcari 2016” – Special Mention sect. Photography 2016 -Porcari (LU) -) – Her self-portraits are part of the photographic archive Musinf- Senigallia (An), the same are published in the book on self-portrait by Giorgio Bonomi, edited Rubettino – Her photographs are part of collections private, are published on different Photo Magazine. 

Still Life Part VII Shadows by Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

Still Life Part VII Shadows | Stefania Piccioni

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Submission
Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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