Tara Gorman “semi-edible”
Miniatures and food are two of the things I most enjoy photographing. (My cat is probably my most photographed subject, but getting him to sign a model release for exhibition is near impossible.)
I have an abundance of toys and railroad miniatures scattered about the house, and I think of these things as a sort of pantry. I mix species and scales in an attempt to make a meal that's like nothing you've eaten before. My actual pantry is like a toy chest. Lots of bright colors, and everything's jumbled together.
It makes sense, then, to combine these elements. I like to bring a sense of play into my art and my cooking. Starting a meal or a photo session with “What if....” turns mundane actions like gluing small pieces or deveining shrimp into something more joyful. Sometimes the results aren't great! The light's just not there. The jam won't set. But I never feel like I've wasted time. Something special happens during the making and as corny as it may sound, that special feeling is part of the work. Or the stew.
I shoot with a digital SLR, usually with a 60 or 50 mm lens. Indoor lighting is 3-4 small gooseneck lamps from the dollar store. My process is pretty ham-fisted and it works for me! I use small mirrors to bounce light around. I have a stash of various glass bits and bobs that I like to play around with. Sometimes I use the glass to create patterns with the light. Sometimes I shoot through the glass. I keep a cheap filter over my lens so that I can play around with different effects: a piece of Cinefoil with a hole in the middle creates dramatic vignetting, and flower petals taped to the filter add a dreamy haze. My indoor practice feels like stretching out. I get to luxuriate in getting lost in the process. I tend to work late at night and it's lovely to be alone with the piece; helping it grow into what it's meant to be. My outdoor work strengthens the part of my brain that handles spontaneity. I'm at the mercy of light and wind, so I've got to work quickly. The images I end up with are not always what I intended to make when I stepped outside. Many of the outdoor scenes in this collection were shot in my backyard, and it makes me happy to look at them as a sort of document of this environment.
Whether inside or out, I never seem to have what I need when I need it, and I have to pause to search for another roll of double-sided tape or a spool of fine gauge wire. (Organization is not my strong suit.)