A champagne toast at midnight. There is no more iconic way to make the transition from one year to the next. To celebrate the beginning of 2014, I decided to shoot a glass of champagne. Let me show you how I created this shot with items I had laying around my garage.
When working on a multi-page editorial spread or a cookbook, it is important to showcase a variety of different food shots. If there is an author or chef involved in the shoot, including them in a few action shots will blend nicely with a variety of still shots. Here is a look at a recent shoot I did where I was assigned to shoot both action and still shots of the same dish.
When traveling to a restaurant, you never know what type of lighting environment you will find yourself in. There could be a large window with beautiful soft, natural light, or it could be dark like a cave with only overhead fluorescent lights. If you want to add restaurants to your portfolio, reading the light in a room is a great habit to get into. Not sure what I mean by reading the light? Let me show you what I found on a stop for some Texas barbecue.
One of the biggest niches in commercial photography today is food photography. We've all had the same experience, walk into a small local restaurant and ask to see their menu. The photos look atrocious and you wonder to yourself, "who took these photos?" You know you can probably do a better job, but how much better can you really do? "Photographing Food" an ebook series by Taylor Mathis helps you take ordinary food photos and makes them extraordinary.
When shooting an ingredient shot, shadows can make or break an image. Sometimes you want less noticeable shadows while other times dark shadows can add a lot to an image. In the case of this pomegranate, I shot it both ways. Let me show you how playing with the shadows will have a dramatic effect on your final image.
It's not a brand new idea to incorporate printing photos on food. Recently we talked about printing photos on coffee with the selfie-latte, but Boomf takes photo printing a little bit more out of the box. Well, maybe more out of the cup. With this product I will preface with one question: do you like marshmallows? Yes or no, this product is for you.
When you are on a food photography shoot, you will hear the term the "Hero _____ " throughout the day. DO NOT EAT THE HERO. The hero is the picture perfect version of the food that will be in the final shot. Here is a look at what goes into finding the hero for your shot.
A tripod is the go to device for photographers who want to stabilize their shots. The three adjustable legs do a great job at keeping a camera supported and in one position. However, these three legs create a huge problem when shooting in a small kitchen or busy restaurant. Let me share with you a piece of equipment that will stabilize your camera with no legs at all!
After 2 years of planning we are extremely excited to announce Fstoppers Workshop Atlantis, our first ever live workshop event. We have 10 incredible instructors and we will be limiting the size of the event to around 200 students. The best part is the location; we are throwing this event at Atlantis Resort in the Bahamas.
Every food shot will have some type of background that the subject sits on. A few months ago, I showed you how you can paint wooden boards to make a beautiful and versatile background system. If you don't have the storage space for a wooden board system, or are just getting started in food photography and want something a little simpler, I have a solution for you! Let me show you a background material that any level of photographer will find inexpensive, portable and versatile!
All restaurants aren't the same. They will serve different dishes, have different interiors, and charge different amounts for what they serve. When you are assigned to shoot a restaurant's signature dish, you will find that all restaurants will have one thing in common. There will be a table for guests to dine at, and for you to shoot at. Do you think of a table as just a table? Before you brush off the importance of selecting the right shooting surface, let me show you a few examples of how this decision will impact your image.
There is one lighting modifier that I never leave home without. Its compact size and light-weight build has earned it a permanent place in the outside pocket of my gear bag. I made this modifier about 4 years ago and have brought it to every food shoot since. If you are shooting food, it is a must have and it won't break the bank to make it. What is it you wonder? It is a collapsible Tabletop V Reflector. Let me show you how easy it is to make!
From national magazines to local papers, media outlets of all sizes like to cover restaurants. If you are a photographer who shoots editorial assignments, there is a good chance that you have been assigned to cover a dish at a restaurant. Over the last couple of years, I have photographed hundreds of dishes at restaurants ranging from white table cloth fine dining establishments to hole in the wall hidden treasures. Here are some tips that might help you with shooting a dish for an editorial client.
Have you ever eaten at a fine dining restaurant? You know the type of place with white table cloths, 3 different forks, and you have to have a reservation to get a table? In fine dining restaurants, the dishes look a little different; the plates are works of art! The colors, textures, and placement on the plate are all done with very specific intentions. This type of beautiful plating is becoming more widespread than you might think. No longer is it reserved for the restaurants where you know your check will have three digits in it. If you are hired to shoot at these locations, make sure to capture the beauty of the plate! Here are some tips to help you out.