Florist PhotographyA course by Shane ChuaStart lesson 1

Gallery

A small reference library.

A handful of florist photographs to study while you work through the course. Notice the light, the negative space, the moments where the camera is allowed to do less.

A garden rose and ranunculus bouquet wrapped in silk ribbon on linen — Bouquet, wrapped, soft side light, linen surface.

A florist arranging cream and blush roses on a wooden worktable — In progress, the worktable as styling backdrop.

Close-up of soft peach garden rose petals — A reminder to get close.

A tall white peony and eucalyptus arrangement in a stone urn — Tall arrangements photograph best at table-height.

Overhead flat-lay of a low garden rose centerpiece on a linen runner — Wide, low designs almost always look better from above.

A single cream garden rose in a glass bud vase — One bloom, one window, one frame.

A bridal bouquet of anemones and garden roses on a linen chair — Found light, a chair near a window will do.

A blush and cream dahlia and rose centerpiece in a low compote vase — A low centerpiece, photographed just above the rim.

A single stem of white sweet pea and trailing jasmine in a glass bud vase — Restraint, one stem, one frame, one quiet moment.

Overhead flat-lay of loose garden roses, eucalyptus, ribbon and shears on linen — The making, as worth photographing as the finished piece.

Macro close-up of dew on the petals of a peach garden rose — Closer than you think.

A tall ivory and mauve floral installation on a wooden plinth — Statuesque pieces want eye-level, not above.

A hand wrapping a bouquet of ranunculus and anemones with silk ribbon — Hands in frame, proof of the craft.

A romantic bridal bouquet of blush garden roses and trailing jasmine — Window light, held still, a bouquet at rest.

An asymmetrical ikebana-inspired arrangement with a single curving branch and cream peonies — Negative space is part of the composition.

A long banquet table runner of low garden florals with soft candlelight — Tablescapes read best at the diner’s eye-line.

A single butter-yellow garden rose with one fallen petal — One bloom, one petal, a small story.

Overhead flat-lay of loose anemones, ranunculus and eucalyptus with shears and twine — The mise en place of a quiet morning.

A tall airy arrangement of branches, white delphinium and trailing amaranthus in a ceramic urn — Leave room for the arrangement to breathe.

A hand tying twine around a wrapped bouquet in brown craft paper — The finishing knot, worth a frame of its own.

A lush bridal bouquet of peonies and trailing ivy on a vintage wooden bench — A bench, a window, a bouquet, nothing else needed.

A low compote arrangement of dahlias, lisianthus and dried grasses on linen — A side angle, just above the rim, the shape reads.

A single white anemone held gently between two fingers — Hands soften the frame.

A tall ceremony arrangement of pampas, delphinium and amaranthus beside a window — Let the ceremony piece have its own quiet portrait.

Overhead flat-lay of a half-completed bouquet with twine, paper and shears — The half-finished frame, often the most honest one.

Ranunculus and sweet peas tied with silk ribbon on a stone garden table — Outdoor overcast light is its own kind of softbox.

A close-up of dried lavender and wheat bundled with linen string — Dried stems deserve a place in the library too.

Your turn

Every photograph here was made with patience, not gear.

When you’re ready, start with lesson one and build your own quiet library, one arrangement at a time.

Start with lesson 1 →