Photography

I’m not naturally a photography enthusiast: I don’t have a fancy camera, I rarely remember to think about composition, and I tend to put all my concentration into getting a non-blurry shot without ugly shadows or reflections. This usually involves taking loads of shots, discovering there was a major flaw in all of them (a stray piece of dirt or something), taking a load more and eventually selecting one I’m more-or-less happy with.

Lighting

Glass, of course, is a particularly reflective surface to be trying to photograph. If it’s too sunny, all I get is a massive reflection (usually of me). If it’s not sunny enough, I get a dull and lifeless photo. Sometimes, I drop everything I’m doing and dash off to try and get the perfect photo because I’ve just seen the sun go in or out or generally become less extreme!

I’ve considered trying one of those lighting boxes to see if (by some miracle) it solves all my problems - but I think actually the results would be too sterile anyway, so I haven’t ventured down that road. I think it’s still important to provide a bland photo against a white wall to give the clearest idea of colours and detailing, but other shots can help bring a piece to life more.

Then there’s the light shining through the glass. Whether it’s casting a shadow on the wall behind (in some cases, I use a hook that’s further from the wall to enable this effect), or shining through transparent coloured glass (best observed with freestanding pieces), there are some stunning moments.

Different Angles

My fused glass is also very tactile, which isn’t always obvious from “straight on” pictures. Some pieces, like my kiln-carved suncatchers, have a pleasing weightiness to them - they’re made from a double layer of glass and develop thick rounded corners in the kiln. Others, for example my rainbow hedgehogs or suffragette scenes, have the design fused onto a backing piece - and each hedgehog spine, suffragette campaigner or piece of bunting is a smooth shape proud of the surface that’s just asking to be touched.

Pictures that show off these features don’t tend to be my “cover photo” for a product - they often end up looking mildly ridiculous with an exaggerated aspect ratio, and don’t give a good overview of the piece at all. But they do add to the story - when selling online, I have to try and give the full experience that someone seeing my work “in the flesh” would get.

Different Backdrops

The earliest Glassified photos I took were very plain - they showed the attributes of the glass without any further distractions. But over time, I’ve become more adventurous with my backdrops - using grass, bricks, shrubs, fences, curtains, and even the back of a paving slab to show off my work.

I still struggle to set up a scene with actual props for any of my photos. In my own mind, the props are a complete distraction - even if they do add some extra colour, interest or context. Indeed I once accidentally sold a 3D-printed plastic chess set, because I’d used it as a prop in my chess board photos! (I rest my case: props are a distraction!) But when it’s winter, the lighting is terrible and the garden is dull, they might have their place.

Never work with children or animals…

I have cats. They don’t tend to give me much choice in the matter: if they decide I’m working with them that day, then that’s what I’m doing! Sometimes they’ll quietly curl up nearby (I have a special piece of cardboard on the studio floor for them to sleep on: it may as well be the Ritz!), but generally if a camera’s involved then they’re up and about, offering their assistance (or hindrance).

If you look closely, you can even see Ernie in the triple-hedgehog photo at the top of this website!