In this deceptively simple composition, the photographer demonstrates how the most humble subjects—three tomatoes from a supermarket produce section—can become vehicles for exploring light, form, and the enduring traditions of still life photography. The work sits comfortably within the classical end of Chapter 5’s spectrum, channeling centuries of artistic precedent while employing decidedly contemporary tools and techniques.
The arrangement recalls Dutch Golden Age vanitas paintings, where ordinary kitchen staples were elevated to subjects of profound contemplation. Here, three ripe tomatoes rest upon a weathered wooden surface, their placement casual yet deliberate. The varying positions of their stems—pointing in different directions like botanical compasses—introduce subtle asymmetry that prevents the composition from becoming static. Water droplets cling to the glossy red skin, suggesting recent washing and adding points of light that animate the surface.
His lighting strategy proves crucial to the image’s success. Working with a single Godox V1s flash modified by a softbox and grid, he achieves remarkable control over illumination. The grid attachment narrows the light spread, creating focused illumination that emphasizes the tomatoes while allowing the background to fall into deep, theatrical darkness. This chiaroscuro effect—the dramatic interplay of light and shadow—lends gravitas to subjects that might otherwise seem merely documentary.
The wooden surface provides essential contextual grounding. Its rough texture and visible grain contrast beautifully with the smooth, taut skin of the tomatoes, creating a dialogue between refined organic form and rustic materiality. The warm tones of the aged wood complement the rich reds of the fruit, establishing a harmonious yet varied color palette that feels both earthy and sophisticated.
His post-processing approach through Skylum Luminar 4, utilizing a color LUT (Look-Up Table), demonstrates an efficient workflow that enhances rather than overwhelms the captured image. The color grading deepens the reds toward burgundy in the shadows while maintaining natural highlights, creating dimensionality that draws the eye around each form. This restrained digital intervention respects the photographic integrity of the scene while amplifying its visual impact.
Within the broader trajectory of his still life work, this image represents a return to fundamentals—a meditation on how controlled lighting and thoughtful composition can transform the everyday into the examined. Where other works in this chapter might push toward experimental territories, this photograph anchors itself in proven traditions, demonstrating that innovation need not always mean departure from established visual language.
The Sony A7ii captures these elements with clarity and subtle tonal gradation, rendering the tomatoes with sufficient detail to appreciate their imperfect spherical forms, the slight variations in color saturation, and the delicate green stems that signal recent harvest. These details matter; they prevent the image from becoming abstract or overly stylized, maintaining its connection to the tangible world.
Ultimately, this work succeeds through its quiet confidence. The photographer understands that compelling still life photography requires neither exotic subjects nor complex staging—only patient observation, technical competence, and an appreciation for how light reveals the inherent beauty in forms we too often overlook. These grocery store tomatoes, frozen in this particular moment of light and shadow, become worthy of sustained attention.
Greg Urbano 