Olympia has been home to many professional photographers over the decades. One of the leading commercial photographers in the mid-20th century was Merle Junk. From snapshots of events and buildings to weddings and family portraits, his work offers a window into history, bridging the past and present.

Merle Junk Early Life

Merle Pinkerton Junk was born on June 2, 1899 in Fairfax, Iowa to James Junk (1848-1936) and Lucretia Loomis Junk (1853-1944), the youngest of six children. The family soon moved from their farm in Iowa to Montesano, Washington before relocating to Olympia in 1908.

Junk attended Lincoln School, even making the third-grade honor roll in Miss Scroggs’ class. As a teenager, he was active in the YMCA and Christian Endeavor at the United Churches where he remained an active member the rest of his life. Senior class treasurer, Junk graduated from Olympia High School in 1918. His nickname in the yearbook was “Just Junk.”

Then Junk joined the Student Army Training Corps (now ROTC), and studied mechanical engineering at Washington State University, hoping to build bridges. After two years, he changed his mind and became district manager for Olympia’s Buckeye Extract Company in Aberdeen.

In September 1923 he married Marjorie Cook (1901-1997) of Tumwater, also an OHS graduate and WSU student. The couple had three sons: Richard, Willard and Robert. Marjorie was active with the PTA, Daughters of the Pioneers and United Churches.  

Becoming a Historic Olympia Photographer

Moving back to Olympia around 1924, Junk first worked as proprietor of the E & H Auto Paint Shop. In July 1925 he opened The Picture Shop with Ralph Haycox, who had owned the paint store, at 621 Capitol Way. This shop concentrated on cameras, photography and picture frames. They also sold gifts.

This business moved to the new Security Building (203 E Fourth Avenue). In July 1930, Junk partnered with Ralph Haycox and Paul Woods to form the Olympia Office Supply Company in the same space. Overseeing it as president, the store continued to offer commercial photography and photo developing, but in addition marketed commercial stationery and office furnishings.

In 1931, Junk founded Silvertone Studios (1067 Capitol Way). Quickly renamed Silvertone Photo Co., the business eventually moved and became the Merle Junk Photo and Litho Company, or simply Merle Junk Photos (117 Legion Way West). Junk employed other photographers, including William McNeil and George Bradley, in the 1950s.

Junk’s work was highly regarded. Describing his September 1932 photos of the “Olympia Model Home,” the Daily Olympian celebrated that: “Junk specializes in photography used to exploit the beauties of property, real or otherwise. Junk’s photography, well known in Olympia, has reached a perfection seldom, if ever, surpassed for use in advertising mediums.”

Over the years he photographed portraits, groups, clubs and weddings. He was also the official photographer for the Olympia school district, taking photos of students for over 30 years. Several state agencies contracted him to document things such as the construction of I-5, earthquake damage to state buildings and tourism promotion.

Through this and work for the Daily Olympian, Junk captured images of local events and places. Sometimes the events were tragic, like the Olympia Regional Airport’s first fatal crash in 1936 and the burning of the Buchanan Lumber Mill on West Bay Drive in 1935. He also photographed happier events such as club meetings and special events like the 1947 Dairy Maid of the West competition or Mayor Amanda Smith slicing a cake to celebrate Olympia’s centennial of its incorporation in 1959.

Some of his work was published to promote the Olympia area, including a 1959 Chamber of Commerce tourist brochure. A picture he took of the capitol was put on a Royal Stafford Bone China souvenir cup and saucer – and other matching pieces – designed by Dolores Merrill that was sold at Talcotts in the 1952.

Merle Junk Was Active in Olympia Clubs

Junk was active in Olympia clubs. He was the first president of the Active Club when it formed in 1925 and continued to serve as trustee for many years. The Active Club sponsored Boy Scout Troop 31 when it started in 1932. Scoutmaster for many years, Junk was also neighborhood, Olympia district, and Thurston County district chairs for the scouts.

Junk was elected president of the Lions Club in 1953 and was a member of the Toastmasters Club, Red Cross, YMCA, and Elks. He also served on the Retail Board and local United Way board.

During the 1950s to the early 1970s, Junk headed the committee that handed out free ice cream and movie tickets to children at the end of the annual Pet Parade. He also regularly awarded an 8-inch-by-10-inch photo of the winning child and their dog in the best dressed large dog category.

Merle Junk: Later Years

In 1967 Junk sold his business to Dean Palmer of Shelton. Renamed Dean and Merle Photography, he stayed on as a production advisor until retiring. He passed away on September 16, 1981. Around 2,000 of his photos eventually became part of the Susan Parish Collection at the Washington State Archives.

While he did not become an engineer, during his lifetime Junk built bridges through his photos, bringing people together. His historic photos recorded treasured family images, past events and places. “In the years to come,” ran a holiday ad for his studio in 1964, a family photograph “will be one of your most prized possessions.” It was after all, as his slogan went, “The gift only you can give.”

These Americans #44
Photo: Will Vogt

The people we see in Will Vogt’s These Americans are more than affluent. They are the old Eastern aristocracy, of F.R. Tripler & Co. blazers and big unruly dogs named for alcoholic spirits (Brandy, Whiskey) and summers in Newport. Vogt grew up in this world, on the Philadelphia Main Line, and starting in 1969, when he was 17, he took a seemingly endless number of pictures among his friends, associates, and neighbors. (He later moved to Texas, and many of the pictures in These Americans were made there.) Perhaps because he was of the same class as they, his subjects betray no sense that he was more than a snapshot photographer; there was zero fear of public exposure. “People wanted to be photographed,” Vogt says today, “’cause they weren’t afraid where it was going to go. There was no instant dump onto your social media and Oh, well I don’t think I want that.” The best of the pictures went into albums that Vogt kept at home, and they weren’t any kind of a secret. “My biggest complaint was people would say, ‘Goddamn, you take all these pictures. Where are they? When do I get to see ’em?’ And I would say, ‘You come over to my house and flip through these albums, and you can look at ’em to your heart’s content.’”

These Americans, just out from Schilt Publishing with an introduction by Jay McInerney, draws from that 70,000-frame body of work. The selection runs through 1996, falling heavily on the 1980s, and the unself-consciousness on view is astounding. Everyone is at ease in this milieu, whether backstage at a wedding or gathered around the bar or the pool. Especially in the earlier photos, the old preppies are always smoking, of course. There are no famous faces on view save one — George H.W. Bush, who pops up briefly in a sport shirt. (A few frames, though not many, are outré: some coke, a couple of streakers.) It’s implied that most of these subjects regarded Vogt as just a friend with a hobby, on the fringes at family-and-friends gatherings. It didn’t hurt that he usually worked with nothing more than a modest point-and-shoot camera.

These days, the world of dynastic wealth — while still extant — is both diminished and changed. Distinctive clothes and habits that once seemed like Just the Way We Live are now codified as “American preppy style,” and outsiders peer into the clubhouse as they once could not. (Not to mention that the old attitude of “your name should appear in print only at birth, marriage, and death” seems quaint in the age of the influencer.) Was Vogt consciously looking to document that world before it slipped away, or was he just having fun taking pictures of his own crowd? “Well, I think a little bit of both,” he says. But the more he talks about his intent, it seems to have been less toward the historical record and more toward simple, personal aide-memoire. “I was influenced by my mother, and she took pictures in the ’50s and ’60s. I mean, she wasn’t a photographer — she was, you know, a housewife that took pictures. That’s what people did. And more importantly, she put ’em in albums. So many people take all these pictures and they’re in desk drawers, or under the bed or in the closet.”

The title — as well as the book’s horizontal format and cover typography — makes obvious reference to Robert Frank’s The Americans, the landmark 1959 collection that busted open so many photographic conventions. (Vogt says that he greatly admires Frank’s work, and also adds, ruefully, that he should have collected it back when it was a lot cheaper.) Although the visual milieu here is different, Vogt, like his predecessor, declines to identify who everyone is. “We thought about it, and we really want the pictures to speak for themselves,” Vogt says. “We kind of like the mystery.” There are no captions at all in Vogt’s book, although he says that a future exhibition might include some very minimal ones.

That said, he was a little more forthcoming when I asked him about one guy who appears more than once in the book. “He was a very interesting family friend who was very wayward, a professional inheritor who wasn’t any good at it. Married a couple of times, but had no children. And he died way too young, because he didn’t take care of himself.” He was, Vogt suggests, that person who just always turned up, and you yourself may have dozens of photographs of someone a little like him on your phone or in your drawers and albums; I certainly do. “He was, you know, kind of our class clown, on the tip of everybody’s tongue. People loved him. So this book is somewhat dedicated to him, kind of.”

Flowers are the year-round subject that keep giving, but how can you make your photos stand out from the crowd?

Whatever camera or lens that you own – even your smartphone – you’ll find some handy tips and creative techniques in this article to help your flower photography blossom.

Try a multiple exposure

There is a feature on your camera that you may not have used before, but it’s perfect for flower photography. Whether you use a DSLR, mirrorless, or point-and-shoot camera, it’s likely to offer a multiple exposure mode, and this feature allows you to shoot a specified number of frames, with the second and subsequent exposures superimposed over the preceding one. This technique originated during the days of film photography, but it’s far quicker and easier to try with a digital camera. 

By taking two or more shots of flowers and overlaying them, you can create images with a whimsy, ethereal effect that lends itself well to forest scenes in particular. How you access and use this feature will differ between camera brands, but there are a few things you can try to maximize your chances of a great image. First up, take shots of two different flowers, rather than two frames of the same subject. Second, experiment with different orientations; so, for example, one frame in regular orientation and another at an angle.

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Say hello to zoom burst

Zoom burst is a great technique to try with flower photography, and to create such an image you just need one essential item of kit: a zoom lens (sorry, no prime optics this time around). All you have to do is select Shutter Priority mode (S or Tv on your mode dial) and dial in a shutter speed that’s slow enough to give you time to twist the zoom ring on your lens during the exposure. 

Focus up on your subject, and as you press the shutter button twist the zoom ring to zoom in, which will capture a zoom-blur effect. This technique requires a fair bit of trial and error to get right, but it enables you to create images with a real sense of dynamism. You can try zooming out as well as in, and the results can be both abstract and high-energy.

Show a worm’s-eye view

If there’s one piece of composition advice you should follow it would be” ‘never take a photo from head height’. Why? Well, because this is the view of subjects we’re all used to seeing, and by going higher or lower you can show a new view of a familiar subject. You can even go really low for a worm’s-eye view – placing the camera on or close to the ground and angling it up will create a genuinely fresh take on your flowery subject. You can handhold the camera for such shots, or for more control you could use a mini tripod.

If you only have a regular tripod that’s not a problem, as most models allow you to remove the center column and reinsert it upside down, so that your camera is close to the ground. Of course, this also means your camera will be upside down, but all you need to do once you’ve taken an image is flip it around in Photoshop. To exaggerate the worm’s-eye effect use a wide-angle optic – this technique works great with flowers that are just a few inches tall, such as bluebells or poppies, but you can try it with any subject.

Sure up sharpness with a focus stack

One of the biggest challenges a photographer can face when shooting flowers is depth of field, which can be limited when you’re zoomed in on a flower, and even more so if you’re using a long lens with a compressed field of view, or a macro lens. So what’s the solution? Well, most cameras have a feature called Focus Stack (also called Focus Merge). In this mode the camera will shoot multiple images, changing the point of focus slightly between each frame. The frames will then be automatically merged in-camera (or you can do this manually back at your computer) to produce a final image with a much greater depth of field, meaning more of the subjects in the frame will be razor-sharp. 

If your camera doesn’t have this mode, you can achieve similar results by placing the camera on a tripod so it stays static, then switch to manual focus and start shooting, changing the point of focus for each frame by rotating the zoom ring on the lens slightly. You can then merge these images in image-editing software such as Photoshop or Affinity Photo.

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Shoot contre-jour

Newcomers to photography are often told to shoot with the sun at their backs, but as ever with photography, rules are meant to be broken. Contre-jour is a French term that translates to ‘against the light’, and what this means for taking photos of flowers is that you turn your lens towards the light and make a feature of the sun, which can add drama and atmosphere to your shots. 

You’ll need to take care when employing this technique, and only use it in the right conditions, as shooting into the light can cause issues such as flare and ghosting, although if flare is carefully controlled, the colorful artifacts caused by sunlight bouncing around inside the lens can add a lovely ethereal quality to flower images. An obvious fix to prevent flare is to add a lens hood – even if your lens didn’t come with one, you can always buy a generic hood to match the filter thread of your lens.

Fill the frame

When greeted with a field full of flowers it can be tempting to opt for a wide focal length (say, 18mm on your kit lens) and try to capture as much of the scene as possible. One of the problems with this approach is that small flowers can look completely lost in the frame, and a better approach is to swap out that wide-angle lens for a telephoto zoom, and zoom in to fill the frame with your subject. 

Scenes such as fields full of sunflowers, poppies or tulips can work really well with this approach, but there are a couple of things to remember. When you’re using longer focal lengths camera shake becomes more of an issue, so check that you’re using a fast enough shutter speed to eliminate the risk of shake. As a general rule, don’t let your shutter speed drop below the focal length you’re using – so for example, if you’re using a lens set to 200mm, don’t let your shutter speed drop below 1/200 sec. Lenses fitted with image stabilization technology will also help keep shots sharp, as will using a monopod or tripod to support the camera.

Final Thoughts

When it comes to flower photography, the huge variety of species, shapes and colors means you’ve got plenty of scope for varying your style, approach and framing, making it easy to put together a varied and attractive portfolio. Use our six tips as a framework, but remember to break free of the rules, and experiment with different approaches and styles visions to capture your own takes on this fun and rewarding genre.

With a retrospective in Philadelphia, Judith Joy Ross is still seeking to capture a mysterious moment.

“Serendipity plays a major role in street photography,” Girma Berta says. He shot this in Mali, but lives in Ethiopia’s capital, Addis Ababa, and had never seen a woman in a dress driving a motorcycle. “Not many women in Addis ride motorcycles, and those who do wouldn’t ever do so while wearing a dress.”

Berta had headed to Bamako’s outdoor market that afternoon, drawn by its “overwhelming energy”. He was taking photos of vendors when the women passed. “You never know what you might encounter, and it’s this unpredictability that makes street photography so thrilling.”

He does, however, sometimes also have a sense of disappointment. “I feel sad that most people I photograph will never see the images I create of them. Many of my subjects don’t have access to the platforms and channels where I share my work.”

When editing, Berta created the streaking patterns, sourced from the background of the photo, to reflect all the colours of Bamako. “I wanted to amplify that sense of motion I had witnessed, of travelling at high speed,” he says.

Food photography is a sub-genre of still life photography that has gained tremendous popularity in recent years, thanks to the rise of social media and food-centric platforms. It is the art of capturing visually appealing images of food, with the goal of making it look enticing, delicious, and irresistible to the viewer. Whether you’re a professional photographer, a food enthusiast, or someone who simply enjoys capturing beautiful moments with food, understanding the nuances of food photography can help you create stunning images that make taste buds tingle.

Creative Food Photography

Creative food photography goes beyond simply capturing a plate of food. It involves experimenting with different angles, compositions, props, and lighting to create visually striking images. This type of photography allows the photographer to showcase their artistic vision and evoke emotions through their work. By using unique perspectives, unconventional props, and imaginative styling, creative food photography can transform a simple dish into a work of art.

Food Photography Ideas

Food photography ideas are endless, limited only by your imagination. Whether you’re photographing a home-cooked meal, a decadent dessert, or an exotic dish from a foreign cuisine, there are numerous ways to make your images stand out. Consider incorporating storytelling elements into your photos, such as capturing the process of cooking or showcasing the vibrant colours of fresh ingredients. You can also experiment with different plating styles, textures, and garnishes to add visual interest to your shots.

How to Take Food Photos

To take compelling food photos, it’s important to pay attention to details and create a visually appealing composition. Start by choosing a suitable background and setting up a scene that complements the dish. Consider using props that enhance the overall aesthetic, such as colourful utensils, patterned napkins, or fresh herbs. Experiment with different angles, such as shooting from above or at eye level, to find the most flattering perspective. Lastly, remember to use natural light whenever possible or invest in a quality lighting setup to illuminate your subject.

Which Lens for Food Photography?

Choosing the right lens for food photography can significantly impact the outcome of your images. A popular choice among food photographers is a macro lens, which allows you to capture intricate details and achieve a shallow depth of field, highlighting the main subject while creating a beautiful background blur. Another option is a prime lens with a focal length between 35mm and 85mm, which offers versatility and the ability to capture wider shots as well as close-ups. Ultimately, the choice of lens depends on your personal preference and the style of food photography you wish to pursue.

Restaurant Food Photography

Restaurant food photography plays a crucial role in enticing customers and showcasing the culinary creations of a dining establishment. When photographing food in a restaurant setting, it’s essential to work efficiently and be mindful of the surroundings. Communicate with the chef or staff to understand the desired outcome and capture the essence of their dishes. Pay attention to lighting conditions, as some restaurants may have dim or artificial lighting. Additionally, be respectful of other patrons and avoid causing disruptions while capturing mouthwatering shots.

Using a Tripod for Food Photography

Using a tripod in food photography can significantly improve the quality and sharpness of your images. It allows you to keep the camera steady, eliminating any blurriness that may occur due to hand movement. A tripod also gives you more control over the composition and framing of your shots. When selecting a tripod for food photography, consider its stability, weight, and flexibility. Look for a sturdy tripod that can support your camera and lens comfortably. Additionally, consider a tripod with adjustable height and versatile positioning options, such as tilting and rotating heads, to achieve different angles and perspectives.

Abstract Food Photography

Abstract food photography takes a departure from traditional representations of food and focuses on capturing unique shapes, patterns, and textures. It allows photographers to explore the artistic and conceptual aspects of food, transcending its literal form. In abstract food photography, you can experiment with close-up shots of ingredients, emphasising their textures and colours. You can also play with unusual angles and perspectives to create visually intriguing compositions. By breaking away from traditional norms, abstract food photography offers a fresh and creative approach to capturing culinary delights.

Artistic Food Photography

Artistic food photography is an expressive and creative form of capturing food. It goes beyond documenting dishes and aims to evoke emotions and tell stories through visual narratives. In this style, photographers often incorporate elements of fine art, such as dramatic lighting, unique compositions, and conceptual ideas. Artistic food photography allows for experimentation with different techniques, such as long exposures, intentional blurs, or mixed media. It encourages photographers to push boundaries and create images that provoke thought and engage the viewer on a deeper level.

Food Photography Lighting Setups

Lighting is a crucial aspect of food photography, as it can dramatically enhance the appearance of the dish. Natural light is often preferred as it provides soft, diffused illumination that brings out the natural colours and textures of the food. Position your subject near a window or shoot outdoors during the golden hours (early morning or late afternoon) for optimal lighting conditions. If natural light is unavailable or insufficient, you can invest in artificial lighting setups, such as continuous LED lights or off-camera flash, to achieve desired results. Experiment with different lighting angles and intensities to create the desired mood and highlight the food’s best features.

Best Plates for Food Photography

The choice of plates for food photography can greatly impact the presentation and aesthetic appeal of the dish. Opt for neutral-coloured plates and bowls that won’t distract from the food itself. White plates are a popular choice as they provide a clean canvas for the dish, allowing the colours and textures to take centre stage.

But while white plates are a popular choice for food photography, there are other options worth considering to add variety and visual interest to your images. Slate, wooden boards, marble surfaces, and colourful ceramic plates can provide unique backdrops that complement different types of dishes.

Consider the style, colour, and texture of the food when selecting plates to create a harmonious and visually appealing composition. Ultimately, the best plates for food photography are those that enhance the dish and allow it to take centre stage without overpowering or distracting from its natural beauty.

White Food Photography

White food photography is a minimalist approach that focuses on clean, bright images with a predominantly white colour palette. It creates a sense of freshness, purity, and elegance. In white food photography, the use of a white background, white plates, and props with light tones helps accentuate the colours and textures of the food. It also provides a blank canvas for styling and allows the subject to stand out. White food photography is often associated with light, airy, and ethereal aesthetics, and it can evoke a sense of simplicity and sophistication.

Food photography is a captivating genre that allows photographers to showcase their creativity, evoke emotions, and entice viewers through visually stunning images of food. Whether you prefer a traditional or more artistic approach, mastering the techniques, understanding lighting, selecting suitable equipment, and experimenting with different styles and compositions will help you capture delectable moments that leave a lasting impression on your audience.

From creative food photography and exploring abstract or artistic styles to capturing the perfect lighting setups and selecting the right plates, each aspect of food photography adds depth and uniqueness to the images you create. Remember to experiment, explore different ideas, and let your creativity shine through in every shot. With practice, patience, and a passion for food, you can master the art of food photography and create mouthwatering visuals that make viewers crave the dishes they see.

So, grab your camera, gather some delectable ingredients, and embark on a culinary journey through the lens. Food photography allows you to capture the beauty and essence of food, transforming it into a feast for the eyes. Whether you’re an aspiring food photographer or simply want to improve your skills, understanding the fundamentals, experimenting with different techniques, and infusing your own unique style will help you create stunning images that leave a lasting impression. So go ahead and indulge in the world of food photography, where creativity and gastronomy converge, and let your images speak volumes about the joy and artistry of culinary delights.