“Oh, I can just fix that in Photoshop® after the Shoot.” Have you ever heard a photographer say that, or thought that yourself? Yes, Photoshop® is an amazing program that can fix almost anything, but the time it takes to do so is often longer than just fixing it on set. Worse than the time it takes, what if it is something that you just can’t fix? Having to tell your client that you need to re-shoot something when you could have easily fixed it on set could be an expensive mistake to make. When shooting food, many solutions to retouching problems will costs less than $5. Here are a few of my favorite items that will save you time and money on post-production.
There are many different surfaces that you can shoot your food photography on. You can use a table in your kitchen, a table in a restaurant, the floor, or any other flat surface that you can find. When selecting a surface, the colors, patterns, and textures of the surface will have a great effect on the look and feel of your final image. With the background playing such an important role in your image, there should be some thought put into what you shoot on. The best way to control this is to make your own backgrounds! Let me show you why wooden planks are my favorite surface to shoot on.
If you follow us here on Fstoppers, you know how much we love food and food photography. For the past few months we posted here countless of tutorials, methods, tricks and business tips to help you take your food photography to the next level. Now it’s time for some inspiration: Check out this set of delicious-looking dishes that will leave you hungry. Very hungry.
What is the best lens? If you shoot wildlife, a long zoom lens will bring you close to the action but allow you to keep your distance so as not to startle your subject. If you shoot architecture, a tilt shift lens will allow you to make sure all the lines of your room or building are straight. Shooting weddings? You will most likely need a lens that can zoom for a variety of wide and close shots. When photographing food there is only one way to get those close up mouthwatering shots that your clients desire! Allow me to show you how a lens with macro capabilities will change how you shoot food! [more]
Before we jump in, it is important to note that I was brought in on this food project to match an already in place look and feel for the client.
The menu at the restaurant was expanding and the client was in need of capturing updated photographs of the new plates that were starting to be served.
This tutorial is a quick rundown of a two strobe lighting set up that was shot inside a restaurant. [more]
Food styling can take place in the production kitchen and in front of the camera. How do you know when and where to style your food? The answer will depend on what food you are shooting. For food with long shelf lives, like cupcakes, the dish will generally be camera ready when it leaves the kitchen. If the dish involves a sauce and a variety of garnishes, the styling will occur both in the kitchen and in front of the camera. Here is a behind the scenes look at a dish that involves styling in both locations: The Meatball Sandwich.
If you are a professional, or an aspiring professional photographer, you rely on your photographic work to bring you financial rewards. Self satisfaction alone, won’t pay rent, put gas in your car, or food on the table. If you want to earn money from your pictures, then you will have to find someone to pay you for them. Here are a few strategies that you can implement to start selling your food photography!
Have you ever been assigned to take pictures of a chef’s creations in a restaurant? Photographing food on location at a restaurant is a very common assignment for a food photographer. I have an editorial client that sends me to 4 or 5 restaurants every month to take pictures of the dishes. Through these assignments, I have discovered that most restaurants are not designed with the photography in mind. [more]
All of us have that favorite food that no matter what time of the day it is, we crave it. Well being a celebrity means you can have access to these foods at any time. Henry Hargreave thought is would make for a fascinating series to photograph these riders. I enjoy the fact that he decided to keep the backgrounds black and very minimal, which helps you connect with the person’s interest and draws you in the most simplistic yet captivating way.
Food photography will at times take you out of the studio and on location. It may be to a restaurant, a farm, or a bakery. If you have to travel to where the food is, then you will have to think about what background you will shoot on. When shooting at a restaurant, capturing the decor and ambiance of the dining room with the dish is preferred by the client. Capturing the tables, walls, or any other distinctive features of the restaurant in the background will enhance your image of the dish. When shooting a food product, the ambiance might not be there. What do you do if all you have are grey walls and a metal counter top?
Are you interested in adding food photography to your portfolio, but don’t know where to start? Don’t be intimidated. Yes, you can spend a lot of money on expensive lighting equipment, lenses and cameras, but these aren’t necessary to make a beautiful food image. If you are a portrait photographer, landscape photographer, sports photographer, or an expert instagrammer, you can use the gear you already have to make beautiful images of your food! [more]
You don’t need to have the most expensive gear to make the best pictures. It is very easy to get swept up in the attitude of ” if I only had this I could take better pictures.” You do not need $10,000, or $1,000, or even $100 worth of lighting gear to make a great picture using artificial light. What if I told you that you could take a beautiful picture of food with a $10 light, a picture frame, a T-shirt, velcro, and cut up foam board?
Have you had trouble taking pictures inside a kitchen? Don’t worry you are in good company. Architects generally don’t think of photographers when designing a kitchen space. The line of a busy restaurant isn’t the best place to take pictures. Tight corners combined with a mess of tungsten and fluorescent lights shining from a multitude of directions make it very difficult to create mouthwatering images. [more]
Alison Anselot took a witty approach to Pantone color swatches and food photography by blending them together to create her project Pantone Food, a series of monochromatic foods paired with a corresponding swatch color.
Allison Anselot is a freelance art director and photographer out of Belgium whose background of design and love of photography paired well with the standard color matching system and the natural colors of the food to produce this series. [more]
David Loftus has been working with food television star, Jamie Oliver, for over 15 years taking dynamic imagery of the culinary masterpieces that Jamie creates in his kitchen. In this behind the scenes video David is shooting with the Nikon D4. In a few short cuts Jamie is also seen trying his hand at taking his own food shots with the Nikon D3200. [more]