I was fortunate recently to be given the opportunity to photograph a very diverse range of studio glass that represents both local and international blown-glass artists, many of whom are still working today.
There is a tenacious flare about this collection, a charm and wit that showcases the true wizadry of these artists who turn the everyday into works of art.
![Light can really transform how an object is seen, as evidenced by this photo of a vase by Peter Raos.]()
Light can really transform how an object is seen, as evidenced by this photo of a vase by Peter Raos.
Collection of Auckland Museum Tāmaki Paenga Hira. 1983.182.1; G409.© All rights reserved
Photographically, there were many challenges. These objects were made of layers of molten glass fabric, blown and hot-styled into a myriad of highly reflective and often colourful forms. They needed an equal measure of expertise when it came to lighting.
The broad range of artists and the many complex shapes and sizes meant there was no 'one size fits all' approach.
![A footed votive bowl by John Croucher. Like light, composition can also change the way we feel about an object.]()
A footed votive bowl by John Croucher. Like light, composition can also change the way we feel about an object.
Giovanni Glass, 1995. 1995.201.3.© All rights reserved
The importance of light
The position of light, whether it is from the sun or from a studio light source has the same impact. As it moves across a landscape or object, light shifts highlights and shadows, essentially transforming what we see.
A beautiful example of how transformative light can be is the effect it has on ice. Imagine the underbelly of an antarctic landscape where diaphanous layers of ice let light penetrate the darkness below weaving patterns of light and shadow that transform the underwater landscape.
For me this is not dissimillar to how light passes through layers of glass at different densities. Studio lighting gives you the control to do a similar thing, as shown in these photos. You can specify where you want the light to fall, to reveal everything or draw attention to just one part.
![Left: A blown-glass vase by William Morris. The exterior, made from glass powder and dichroic glass decoration, is a deep green with swirls and splash patterns; the interior is an opaque red. Right: A close-up of a Garry Nash glass vase in transparent orange.]()
Left: A blown-glass vase by William Morris. The exterior, made from glass powder and dichroic glass decoration, is a deep green with swirls and splash patterns; the interior is an opaque red. Right: A close-up of a Garry Nash glass vase in transparent orange.
Morris: © All rights reserved. Reproduced with permission of the artist. / Nash: © CC-BY Auckland Museum
This Jekyll-and-Hyde approach illustrates the two ways I approached this collection, often at odds with each other. Archival photography requires a level of uniformity. As professional photographers, we're responsible for providing an accurate depiction (or "digital surrogate") of the physical object. This means the final image should have even exposure, true colour, and accurate perspective.
The problem with this method is it restricted how I could illustrate the unique and beautiful ways some pieces reacted to light under different conditions. Accurately measuring everything created limitations on how I could use light. Some of these pieces completely transformed under more targeted and often experimental lighting conditions, creating a unique perspective that one would not often see.
I’ve always had an innate curiosity to look beyond what is in front of me, to strip layers of conformity back in order to gain a deeper understanding of what I see.
An example is this glass paperweight, produced by the artist Tony Kuepfer in 1988. In this photo I've split two images of the object in half to show how adjustments to light and background can bring different elements of the glass to life.
![A bullet-shaped glass paperweight by Tony Kuepfer. There is an opaque orange formation in the interior, like a mushroom cloud inside a clear bubble.]()
A bullet-shaped glass paperweight by Tony Kuepfer. There is an opaque orange formation in the interior, like a mushroom cloud inside a clear bubble.
Collection of Auckland Museum Tāmaki Paenga Hira. 1996x1.28.© CC-BY Auckland War Memorial Museum Tāmaki Paenga Hira
The object is accurately exposed on the right and more targeted on the left.
By making slight adjustments to the background and position of light, I was able to highlight the many internal layers of contoured glass within the object.
This gave me the freedom to show something a little more fantastical about this particular piece that you would unlikely see under normal lighting conditions Similarly with this glass vase, by John Abbott.
![A spherical globular glass vase by John Abbott. Studio lighting allows you to control where you want the light to fall, to reveal everything or draw attention to just one part.]()
A spherical globular glass vase by John Abbott. Studio lighting allows you to control where you want the light to fall, to reveal everything or draw attention to just one part.
Purchased with funds provided by Charles Edgar Disney Art Trust. 1984.239; G421.© All rights reserved
The transformation from one lighting setup to another was incredible and a great example of how both are equally important in illustrating the beauty and workmanship that has gone into its production.
What this collection taught me was the importance of an open-minded approach. Get yourself set up in way that allows you to interchange, expand and experiment with your setup while being as efficient as possible.
Free up your time to discover all the nuances that make objects like these so unique. You can’t inspire others if you're not inspired yourself.
![Perfume bottles by Elizabeth McClure. Some of these pieces completely transformed under more targeted and often experimental lighting conditions, creating a unique perspective that one would not often see.]()
Perfume bottles by Elizabeth McClure. Some of these pieces completely transformed under more targeted and often experimental lighting conditions, creating a unique perspective that one would not often see.
Purchased with funds provided by Charles Edgar Disney Art Trust. 1996.19.© All rights reserved
Related objects
Learn more about the objects discussed in this article by browsing our Collections Online database.
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vase
Description: vase, glass, rounded rim of vase that tapers to a short thin neck, large rounded shoulders, body of vase tapers towards the bottom, body of vase is connected to a clear glass base that was separately cast, base is circular with a slight concave on the underside, body of vase is an orange transparent glass with a opaque greyish trail pattern to upper part, base has etched text on the underside which reads: G. NASH 1981
Collection: HUMAN HISTORYAccession Number: 1981.265Accession Date: 23 Sep 1981Description: vase, glass, rounded rim of vase that tapers to a short thin neck, large rounded shoulders, body of vase tapers towards the bottom, body of vase is connected to a clear glass…
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form
Description: form, glass, form is made from three pieces consisting of an apple, a base and a water droplet, the largest component of the form is an apple-like shape made from matte sandblasted glass with a transparent leaf-like shape on it's top, the base of the apple is circular and flat with a 24mm hole exposing the apples hollow interior, the base .2 is a flat sheet of glass in the shape of a rectangle with one corner missing, the base is sandblasted matte, the droplet .3 is transparent glass that resembles a droplet of water
Collection: HUMAN HISTORYAccession Date: 1994Description: form, glass, form is made from three pieces consisting of an apple, a base and a water droplet, the largest component of the form is an apple-like shape made from matte…
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vase
Description: vase, glass, handblown, transparent dark purple/black glass with white opaque stripes running around and down the vase, vase has a rounded rim, opening is a funnel shape tapering to the neck, short neck, slightly concave shoulders, oblate body, slight concave to base, punty mark, signature etched into base reads: J. M. MITENBERGER 82
Collection: HUMAN HISTORYAccession Number: 1982.208Accession Date: 06 Jul 1982Description: vase, glass, handblown, transparent dark purple/black glass with white opaque stripes running around and down the vase, vase has a rounded rim, opening is a funnel shape…
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vase
Description: vessel, large vase, blown glass, opaque red interior, exterior is a deep green with swirls and splash patterns, exterior is made from glass powder and dichroic glass decoration., body is spherical with large round shoulders that taper towards the base, base is circular, resting surface has been buffed matte, slight convex base with large punty mark
Collection: HUMAN HISTORYAccession Date: UnknownDescription: vessel, large vase, blown glass, opaque red interior, exterior is a deep green with swirls and splash patterns, exterior is made from glass powder and dichroic glass…
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vase
Description: vase, glass, spherical globular shape, base is flattened, top of vase is layers of uneven glass, the centre of the top of the vase is a small circular hole 28mm, body of vase is a transparent clear glass,different layers of glass make up the body, the centre of the vase is a red coloured lightbulb shape, surrounding the red bulb shape is clear glass followed by a layer of thin golden leafing, on top of the gold leafing another layer of glass with a dark red swirl of colour, etched into the base is: JOHN ABBOTT 1984/ GOLDEN ??? attached label reads: ABBOTT/F/475 and obscures after the etched: GOLDEN
Collection: HUMAN HISTORYAccession Number: 1984.239Accession Date: 06 Aug 1984Description: vase, glass, spherical globular shape, base is flattened, top of vase is layers of uneven glass, the centre of the top of the vase is a small circular hole 28mm, body of vase…
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hot lips trilogy, sculpture
Description: sculpture, glass, titled 'hot lips trilogy', three sculptures and a base, handblown, tops of the sculptures are yonic and resemble puckered lips, .1 is the tallest of the hot lips, it has a cylindrical body that tapers at the top and is largest at the base, hollow interior, body of the vase is a milky white opaque glass, the top part of the sculpture is a dark blue glass mixed into a white glass to create the lips, small opening at the top of the sculpture, base of sculpture is a clear glass, rough punty mark on base underside
Collection: HUMAN HISTORYAccession Number: 1986.9Accession Date: 16 Jan 1986Description: sculpture, glass, titled 'hot lips trilogy', three sculptures and a base, handblown, tops of the sculptures are yonic and resemble puckered lips, .1 is the tallest of the hot…
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Further reading
Want to read more about glass works in our collection? Read "Studio glass in Aotearoa" by Grace Lai, and "Fluid glass" by Rigel Sorzano, essays in our online component to Crafting Aotearoa, a recent book-length survey of local makers, forms, and media.
Cite this article
Carol, Jennifer.
Photographing Glass. Auckland War Memorial Museum - Tāmaki Paenga Hira. First published: 7 April 2020. Updated: 11 March 2021.
URL: www.aucklandmuseum.com/discover/collections/topics/photographing-glass