Tutor: Richard Peregrine
Brief/Learning Outcomes Assessed in this assignment:
1. Analyse a specific commercial market in response to a client brief.
2. Discuss cultural, moral and legal restrictions affecting specialism.
3. Apply creative solutions to a portfolio of photography.
4. Appraise contemporary practices relevant to commercial photography, appropriate to specialism.
Background:
Food production and marketing has become a huge part of our daily life. Most people pay huge significance to where our food comes from and whether it is locally, ethically or safely produced. Photographs of food are at the forefront of contemporary commercial photography through editorial use, packaging or advertising. 'Advertorial' is advertising made to look like an editorial feature. This is the area of commercial photography that we are examining and producing for this module.
'An advertorial is an advertisement in the form of an editorial. The term "advertorial" is a portmanteau of "advertisement" and "editorial." Merriam-Webster dates the origin of the word to 1946'.
Brief:
I would like you to choose a regional ingredient, whether that is food or drink and study the history and heritage of that product and related products. Then I would like you to plan, shoot and produce a range of commercially focussed images suitable for a high quality magazine 'advertorial' layout.
Produce photography of the following:
1. The ingredient or product unprepared.
2. An advertising shot of the ingredient or product unprepared.
3. Contextual shots of the ingredient or product, where it is made, who makes it, or contextual images.
Submission Instructions:
* Final practical outcomes as high quality prints, at least six.
* Contextual research - Provide a link of your blog or submit a file.
Assessment Criteria
1. Thorough, in depth research and analysis of the specific commercial market relevant to your response to the brief.
2. Evidence of understanding of cultural, moral and legal restrictions affecting specialism and their implications.
3. Visual exploration, creative and technical application of a range of creative ideas in developing the portfolio of photography.
4. Demonstrate contemporary practices relevant to commercial photography through your approach, the technical standard, creative concepts and brand awareness of your work.
________________________________________________________
What is Advertorial?
1. Analyse a specific commercial market in response to a client brief.
2. Discuss cultural, moral and legal restrictions affecting specialism.
3. Apply creative solutions to a portfolio of photography.
4. Appraise contemporary practices relevant to commercial photography, appropriate to specialism.
Background:
Food production and marketing has become a huge part of our daily life. Most people pay huge significance to where our food comes from and whether it is locally, ethically or safely produced. Photographs of food are at the forefront of contemporary commercial photography through editorial use, packaging or advertising. 'Advertorial' is advertising made to look like an editorial feature. This is the area of commercial photography that we are examining and producing for this module.
'An advertorial is an advertisement in the form of an editorial. The term "advertorial" is a portmanteau of "advertisement" and "editorial." Merriam-Webster dates the origin of the word to 1946'.
Brief:
I would like you to choose a regional ingredient, whether that is food or drink and study the history and heritage of that product and related products. Then I would like you to plan, shoot and produce a range of commercially focussed images suitable for a high quality magazine 'advertorial' layout.
Produce photography of the following:
1. The ingredient or product unprepared.
2. An advertising shot of the ingredient or product unprepared.
3. Contextual shots of the ingredient or product, where it is made, who makes it, or contextual images.
Submission Instructions:
* Final practical outcomes as high quality prints, at least six.
* Contextual research - Provide a link of your blog or submit a file.
Assessment Criteria
1. Thorough, in depth research and analysis of the specific commercial market relevant to your response to the brief.
2. Evidence of understanding of cultural, moral and legal restrictions affecting specialism and their implications.
3. Visual exploration, creative and technical application of a range of creative ideas in developing the portfolio of photography.
4. Demonstrate contemporary practices relevant to commercial photography through your approach, the technical standard, creative concepts and brand awareness of your work.
________________________________________________________
advertorial
ˌadvəːˈtɔːrɪəl/
noun
- 1.a newspaper or magazine advertisement giving information about a product in the style of an editorial or objective journalistic article.
My understanding of advertorial photography is that it is an
advertisement piece that features in written publications. Although it is in the style of and looks like an editorial article, it is actually advertising a product. They are designed to look like legitimate features of the publication and the indications to say otherwise are discreet - often a small piece of text at the top or bottom of the page the word "advertisement" or "special promotional feature". According to the Advertising Standards Authority, the requirements of advertorials in the UK are that they must be clearly marked as such, as there have been legal issues with advertorials being unclearly marked.
'Commercial photography involves taking pictures for commercial use: for example in adverts, merchandising, and product placement. Commercial photography is also used in corporate brochures and leaflets, menus in cafes and restaurants, and similar commercial uses where photographs enhance a text. Commercial photography is used to promote or sell a product or service. There are a number of ways that photographs can be used to better market products and corporations. For photographers who excel at commercial photography, it can be a very lucrative market, and the field of commercial photography is broad, with room for traditional and alternative photographs.'
Taken from: http://www.steves-digicams.com/knowledge-center/how-tos/becoming-a-professional-photographer/what-is-commercial-photography.html#b
Magazine advertorial examples:
What is Food photography?
Food photography is a still life specialisation of commercial photography, aimed at producing attractive photographs of food for use in advertisements, packaging, menus or cookbooks. Professional food photography is a collaborative effort, usually involving an art director, a photographer, a food stylist, a prop stylist and their assistants.
Taken from http://en.wikipedia.org/wiki/Food_photography
Although, like most people, I would say that I already knew what food photography meant, this simple research on the definition has led me to tricks, techniques and trends that are 'in' and used by food photographers to fit with the popular changes that occur in the advertising world, and the aesthetic qualities employers want.
For a long time, food photographs tended to be shot and composed in a manner similar to the way people were used to encountering their food: laid out on a table and shot from an overhead perspective i.e., from the point of view of the eater. Stylists accordingly arranged the food to appear good from above with the items arranged flat on the plate and clearly separated from each other.
Later, romantic lighting, shallower angles and more props came en vogue, with extreme cases leading to the term "food porn". Most recently, the prevailing trend in Western commercial food photography is to present the food as simple, clean and naturally as possible and with little props, often using effects such as selective focus, tilted plates, and extreme close-ups. This compliments trends in professional cooking to make the food more visually interesting. For instance, the height of the dishes tends to increase and their elements are often layered, which lends itself well to narrow-angled shots.
Taken from http://en.wikipedia.org/wiki/Food_photography
Something else I learnt more about was the specific tricks food stylists use when setting the scene, to help keep the food looking as aesthetically pleasing as possible for the camera.
In addition to choosing, preparing and composing plated food, stylists use numerous techniques to make appear the food as attractive as possible. These may include:
Practitioners
Photographer: Richard Moran
'Commercial photography involves taking pictures for commercial use: for example in adverts, merchandising, and product placement. Commercial photography is also used in corporate brochures and leaflets, menus in cafes and restaurants, and similar commercial uses where photographs enhance a text. Commercial photography is used to promote or sell a product or service. There are a number of ways that photographs can be used to better market products and corporations. For photographers who excel at commercial photography, it can be a very lucrative market, and the field of commercial photography is broad, with room for traditional and alternative photographs.'
Taken from: http://www.steves-digicams.com/knowledge-center/how-tos/becoming-a-professional-photographer/what-is-commercial-photography.html#b
Magazine advertorial examples:
Advertorial examples taken from: http://dixonadvertorials.wordpress.com/2012/09/26/examples/
Food photography is a still life specialisation of commercial photography, aimed at producing attractive photographs of food for use in advertisements, packaging, menus or cookbooks. Professional food photography is a collaborative effort, usually involving an art director, a photographer, a food stylist, a prop stylist and their assistants.
Taken from http://en.wikipedia.org/wiki/Food_photography
Although, like most people, I would say that I already knew what food photography meant, this simple research on the definition has led me to tricks, techniques and trends that are 'in' and used by food photographers to fit with the popular changes that occur in the advertising world, and the aesthetic qualities employers want.
For a long time, food photographs tended to be shot and composed in a manner similar to the way people were used to encountering their food: laid out on a table and shot from an overhead perspective i.e., from the point of view of the eater. Stylists accordingly arranged the food to appear good from above with the items arranged flat on the plate and clearly separated from each other.
Later, romantic lighting, shallower angles and more props came en vogue, with extreme cases leading to the term "food porn". Most recently, the prevailing trend in Western commercial food photography is to present the food as simple, clean and naturally as possible and with little props, often using effects such as selective focus, tilted plates, and extreme close-ups. This compliments trends in professional cooking to make the food more visually interesting. For instance, the height of the dishes tends to increase and their elements are often layered, which lends itself well to narrow-angled shots.
Taken from http://en.wikipedia.org/wiki/Food_photography
Something else I learnt more about was the specific tricks food stylists use when setting the scene, to help keep the food looking as aesthetically pleasing as possible for the camera.
In addition to choosing, preparing and composing plated food, stylists use numerous techniques to make appear the food as attractive as possible. These may include:
- creating steam with cool air nebulisers or a combination of chemicals that give off smoke that gives the appearance of steam;
- spraying food with with water or mixtures of water, corn syrup, or other liquids to keep food looking fresh;
- making a mixture of solid shortening, corn syrup, and powdered sugar (essentially a very stiff frosting) that can be scooped to simulate real ice cream;
- using a variety of browning agents (usually mixtures used to brown gravies or sometimes heat activated liquid used in commercial bakeries) to enhance the colour/brownness of cooked meats and poultry;
- using heavy cream instead of milk in bowl of cereal to prevent flakes from becoming soggy too quickly. The use of white glue is generally discouraged, and is not usually encountered (as most cereal companies prohibit this practice).
- blanching green vegetables to just bring up their bright colour, rather than cooking them completely. Other vegetables and foods may be cooked just to colour, so they do now brown or become wrinkled if they must stand under the camera for a while.
- adding water to beverages so light will filter through better and add sparkle to the drink.
Practitioners
Photographer: Richard Moran
AOP overview: With over 22 years in the field of photography, Richard Moran captures images that connect emotionally with audiences worldwide. His talent for presenting structure, form and composition is combined with a thorough understanding of brand sensibilities, resulting in a body of work that is always expressive but never dramatic.
Richard Moran is a commercial photographer with an impressive, extensive list of past clients, such as the BBC, Waitrose, Manchester United, Manchester City and Booths. He is a member of the AOP and has a blog on his website, which shows firsthand his progress since 2010 and the thoughts and images that he has been commissioned to create. In an interview that has been posted online, he speaks of his AOP membership and how much of an importance it holds in being able to secure and gain new clients - "In order to find new clients, I tend to have a bit of a push every three to four years towards editorial publications I want to work for and then a bunch of design agencies I have researched. I find that being a member of the AOP makes London based agencies and editorial commissioners take you more seriously as a photographer."
Taking a moment to reflect, he gives his advice to budding photographers "If I could give one word of advice to anyone wanting to break into the world of commercial portrait photography it would be communication. Articulate planning is the key, and keeping things simple. When you're photographing people, you need to talk to them, win them over and speak about how they perceive themselves. Celebrities can be difficult to photograph too. You need to catch them on a good day and you need them to be interested in what you're trying to achieve." His honesty, humble attitude and casual yet compelling approach with clients and subjects visually contribute to his perfectly-executed projects that often have an element of relatability, but always professionalism. In particular, I am drawn to his environmental and candid style of approaching his subjects, which I feel gives a true, honest representation of the food product process (for example, the inner workings of a farm). The macro and shallow depth of field techniques that he and many other photographers of food use are also fantastically executed in making all of the dishes look very inviting and appetising.
Cameras: Hassleblad 503cw with Phase One P20, Hassleblad Xpan, Pentax 67, Nikon D2X
Richard Moran is a commercial photographer with an impressive, extensive list of past clients, such as the BBC, Waitrose, Manchester United, Manchester City and Booths. He is a member of the AOP and has a blog on his website, which shows firsthand his progress since 2010 and the thoughts and images that he has been commissioned to create. In an interview that has been posted online, he speaks of his AOP membership and how much of an importance it holds in being able to secure and gain new clients - "In order to find new clients, I tend to have a bit of a push every three to four years towards editorial publications I want to work for and then a bunch of design agencies I have researched. I find that being a member of the AOP makes London based agencies and editorial commissioners take you more seriously as a photographer."
Taking a moment to reflect, he gives his advice to budding photographers "If I could give one word of advice to anyone wanting to break into the world of commercial portrait photography it would be communication. Articulate planning is the key, and keeping things simple. When you're photographing people, you need to talk to them, win them over and speak about how they perceive themselves. Celebrities can be difficult to photograph too. You need to catch them on a good day and you need them to be interested in what you're trying to achieve." His honesty, humble attitude and casual yet compelling approach with clients and subjects visually contribute to his perfectly-executed projects that often have an element of relatability, but always professionalism. In particular, I am drawn to his environmental and candid style of approaching his subjects, which I feel gives a true, honest representation of the food product process (for example, the inner workings of a farm). The macro and shallow depth of field techniques that he and many other photographers of food use are also fantastically executed in making all of the dishes look very inviting and appetising.
Cameras: Hassleblad 503cw with Phase One P20, Hassleblad Xpan, Pentax 67, Nikon D2X
Lenses: Hassleblad 40mm and 80mm, 120mm Macro Planner, Pentax 80mm and 150mm, Xpan standard and wide, Nikon 20mm, 60mm macro, 35-85mm, 80-200mm f/2.8
Quotes and equipment list taken from http://www.ephotozine.com/pro-portfolio/richard-moran-268
Photographer: David Loftus
David Loftus is a photographer with many strings to his bow. A shooter of fashion, portrait, landscape and reportage, it is his food photography that has won him awards and gained him international acclamation - in particular, photographs for Jamie Oliver's books and one of the most successful food advertisements of all time for Sainsbury's. The hazy, dream-like effect of his images combined with the pops of colour, shallow depth of field with beautiful bokeh, rustic qualities and above all, his exceptional eye for composition results in every image looking effortlessly fantastic. I also think that the way he incorporates people and dynamism in his images creates another point of interest and a level of relatability with audiences.
Through research I have discovered food photography tips and video tutorials he has shared online through Jamie Oliver's Food Tube that show his way of working to create such brilliant images. Among other things, these videos have taught me the importance of perseverance, reviewing the images mid-shoot with clients to ensure everyone is happy with the results, a 'time is of the essence' attitude and capturing every aspect of the food process to tell a story - this could be practiced by trying different angles, experimenting with natural and artificial light using different lenses to show the scene or product from different perspectives. Considering and selecting a couple (or few) of lenses gives the photographer more creative and compositional options - for example, choosing a 50mm or 85mm to shoot environmental portraits of the people behind the food, or a macro to focus in on solely the ingredients.
Images taken from: www.davidloftus.com/food
Video and tips taken from: http://www.youtube.com/user/JamieOliver and ://www.ephotozine.com/article/jamie-oliver-and-david-loftus--food-photography-tips-21136
Photographer: Rob Lawson
Rob Lawson is a London-based food photographer who specialises in drinks - cocktails and bottles. His work is used in editorial and advertising - magazine covers, billboards and adshels. Whatever product he shoots he creates incredibly professional, polished, clean images that have a business-like, executive feel. Through attempted research I have concluded that Rob Lawson appears to be a bit of an enigma, as online I have not been able to find anything other than his LinkedIn profile and personal website, which offers no information about him.
Images and information taken from: http://www.roblawson.com
Photographer: Kevin Summers
Like Rob Lawson, Kevin Summers appears to be an enigma but through research and his personal site it is clear that his food photography has gained him huge names to add to his portfolio such as McDonalds, Tropicana and Heinz. Specialising in food photography, his work is very still-life based with a natural feel to his images, from the subjects to the lighting and muted colour tones. Although I can appreciate very polished and edited images, I feel that this rustic look can be better suited to the world of photography.
Images taken from: www.kevinsummersphotography.com
Quotes and equipment list taken from http://www.ephotozine.com/pro-portfolio/richard-moran-268
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| Richard Moran - The Three Fishes collection |
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| Richard Moran - The Three Fishes collection |
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| Richard Moran - The Three Fishes collection |
Photographer: David Loftus
David Loftus is a photographer with many strings to his bow. A shooter of fashion, portrait, landscape and reportage, it is his food photography that has won him awards and gained him international acclamation - in particular, photographs for Jamie Oliver's books and one of the most successful food advertisements of all time for Sainsbury's. The hazy, dream-like effect of his images combined with the pops of colour, shallow depth of field with beautiful bokeh, rustic qualities and above all, his exceptional eye for composition results in every image looking effortlessly fantastic. I also think that the way he incorporates people and dynamism in his images creates another point of interest and a level of relatability with audiences.
Through research I have discovered food photography tips and video tutorials he has shared online through Jamie Oliver's Food Tube that show his way of working to create such brilliant images. Among other things, these videos have taught me the importance of perseverance, reviewing the images mid-shoot with clients to ensure everyone is happy with the results, a 'time is of the essence' attitude and capturing every aspect of the food process to tell a story - this could be practiced by trying different angles, experimenting with natural and artificial light using different lenses to show the scene or product from different perspectives. Considering and selecting a couple (or few) of lenses gives the photographer more creative and compositional options - for example, choosing a 50mm or 85mm to shoot environmental portraits of the people behind the food, or a macro to focus in on solely the ingredients.
Images taken from: www.davidloftus.com/food
Video and tips taken from: http://www.youtube.com/user/JamieOliver and ://www.ephotozine.com/article/jamie-oliver-and-david-loftus--food-photography-tips-21136
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| David Loftus, Jamie Oliver magazine |
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| David Loftus, Jamie Oliver magazine |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
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| David Loftus |
Photographer: Rob Lawson
Rob Lawson is a London-based food photographer who specialises in drinks - cocktails and bottles. His work is used in editorial and advertising - magazine covers, billboards and adshels. Whatever product he shoots he creates incredibly professional, polished, clean images that have a business-like, executive feel. Through attempted research I have concluded that Rob Lawson appears to be a bit of an enigma, as online I have not been able to find anything other than his LinkedIn profile and personal website, which offers no information about him.
'Trusted by the biggest names in the business for more than a decade.'
adshel
Web definitions
- Poster placed on bus shelter, often illuminated.
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Rob Lawson
Rob Lawson
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| Rob Lawson |
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| Rob Lawson |
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| Rob Lawson |
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| Rob Lawson |
Images and information taken from: http://www.roblawson.com
Photographer: Kevin Summers
Like Rob Lawson, Kevin Summers appears to be an enigma but through research and his personal site it is clear that his food photography has gained him huge names to add to his portfolio such as McDonalds, Tropicana and Heinz. Specialising in food photography, his work is very still-life based with a natural feel to his images, from the subjects to the lighting and muted colour tones. Although I can appreciate very polished and edited images, I feel that this rustic look can be better suited to the world of photography.
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| Kevin Summers |
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| Kevin Summers |
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| Kevin Summers |
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| Kevin Summers |
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| Kevin Summers |
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| Kevin Summers |
Images taken from: www.kevinsummersphotography.com
Practice shoot - Tomato soup
This was my initial practice shoot that I shot using a 50mm l.4 lens and natural light, simply to get a feel for photographing food - something I haven't done before. I chose the ingredients based on what I would put into a tomato soup, whilst also taking into account the colours and which would compliment each other.
Edited images:
Although I like the effect of a naturally, backlit subject, to improve the look of the shoot I would need a light source coming from the front with a higher output than a regular ceiling light (if I didn't have photographic equipment available). This initial shoot has meant I am scrutinising this type of photography for the first time, which has resulted in me considering the implications of vignetting.
| vignetting (vɪˈnjɛtɪŋ) | |
| — n | |
| 1. | the technique of producing a photographic vignette, esp a portrait, by progressively reducing the amount of light falling on the photographic surface towards the edges. |
| 2. | the reduction in area of a light beam passing through a camera lens as the obliquity of the beam is increased. |
As I don't always use a lens hood or filters, my first thought was that the lens was probably the main cause of the vignette. Through research, I have learnt that it is wide-angle lenses that are prone to this (which I have also experienced). I have also learnt that it is more likely to happen at wide open apertures, which I often shoot with. As I shoot with a full-frame DSLR, this is also more apparent because unlike cropped sensor cameras, the entire field of view is used.
This website gives tips and options on reducing/avoiding this when shooting or after shooting:
Reduce the aperture
Vignetting is most apparent when shooting at wide apertures such as f/4 or f/5.6, so the easiest way to reduce it is to set a smaller aperture of, say, f/8, f/11 or f/16. But be aware that the shutter speed will become slower, so you may need to increase the ISO or use a tripod to prevent camera shake.
Take care with filters
Wide0angle lenses are prone to vignetting, and it's particularly noticeable with filters fitted. Use thin screw-in filters and remove UV filters. Remove filter holders and hold the filter flush against the lens instead. Avoid the widest focal length of wide-angle zooms.
Fix vignetting in Photoshop
If you can't avoid vignetting as you shoot, use Photoshop or other editing software to fix the problem. Shoot in RAW and process in Adobe Camera Raw, using the slider in the Lens Profile Corrections panel to remove vignetting. If vignetting is bad, you may need to crop the image too.
Information taken from: http://www.digitalcameraworld.com/2012/10/24/vignetting-quick-fixes-and-how-to-avoid-it-entirely/
To conclude on this, I would say that I am now aware that my own choices of camera, lens and aperture are increasing vignette, but have always (until now) seen it as a positive, artistic effect that enhances/frames a subject; resulting in me sometimes even adding it to an image in post-production. Although this is my opinion, to others vignetting is considered a distortion that requires correcting. This awareness has informed me of the technical reasons behind this effect and I now know there are simple steps I can take to avoid it altogether.
Practice shoot - Pumpkin soup
For my second food shoot, I wanted to do something which is fitting to the current month of October, so I used props to create a seasonal theme. Again I used a 50mm f1.4 lens and a soft box for soft, appealing light on the product. This practice shoot reiterated that I have a lot to learn when it comes to knowledge and abilities in studio lighting. Although I used various props, took images from different viewpoints and tried different positioning, I discovered how very difficult it is to make food look appetising! If I was to do this shoot again, I would also experiment with different light sources and practice my food arranging to get the most appealing shot.
For my second food shoot, I wanted to do something which is fitting to the current month of October, so I used props to create a seasonal theme. Again I used a 50mm f1.4 lens and a soft box for soft, appealing light on the product. This practice shoot reiterated that I have a lot to learn when it comes to knowledge and abilities in studio lighting. Although I used various props, took images from different viewpoints and tried different positioning, I discovered how very difficult it is to make food look appetising! If I was to do this shoot again, I would also experiment with different light sources and practice my food arranging to get the most appealing shot.
Outlets
Booths Supermarkets – Preston
Bury Market
Bashall Barn – Clitheroe
Huntlys – Salmesbury
Barton Grange - Garstang
Beers
Thwaites – Blackburn
Moorhouses – Burnley
Lancaster Brewery
Three B’s – Blackburn
Old School Brewery – Warton
Bowland Brewery – Clitheroe
Hawkshead Brewery
Ulverston Brewery
Tyrrills Brewery – Cumbria
Jennings Brewery – Cockermouth
Regional brands
Vimto
Uncle Joes Mintballs
Fishermans Friend
Pataks
Swizzles
Real Lancashire Eccles cakes
Lancashire Sauce
Fiddlers Lancashire crisps
Hollands Pies
Potts Pies
Mrs Kirkhams Cheese
Grandma Singletons Dairy (Parlick cheese)
Dewlay Lancashire Cheese
Bowland Spring Water
Bowland Milk
Ingredients
Samphire
Salt Marsh Lamb
Black Pudding
Morecambe Bay Potted Shrimps
My original idea was to choose Southport samphire as my product, but I soon discovered that the harvesting season is from June to September, meaning I was just out of season and therefore it wouldn't be feasible for me to shoot.
After continuing my research, an idea suddenly came to me that I was surprised I hadn't thought of sooner - Chutney for Change. C4C is a social enterprise that tackles two key social issues, at a grassroots level. The project was started by Rachel Gilkes who is a fellow UCBC student, food enthusiast and sustainability advocate. She shows the importance of small businesses/projects building up a following through the use of social media - the perfect way to reach audiences. I went along to Blackburn Market where they are every Monday, getting contextual shots and really gaining a feel for what they are all about. I documented the process of the local production from beginning to end, from the raw ingredients to the jarring process and finished product ready for selling. My next step is to photograph the products I bought to take home (and eat!) in a prepared setting.
Pinterest has been a key element in photographic inspiration for my prepared images. New to the site, I found searching for photographic ideas through keywords very exciting and efficient. In doing this, I have been inspired to create food 'sets' with props and other foods to compliment my product. I will be photographing my product in context/environmental to give the food some context and hopefully become even more visually appealing.
Prop-hunting
I have spent a few days in total searching for the best props I can find which suit the product and compliment each other. I have obtained my props from families/friends houses, charity shops and car boot sales.
Studio lighting and other tips
Studio lighting is a field which I require much practice and hands-on experimentation with. I feel that this module gives me the perfect opportunity to do this at my own level, when photographing my product. I have looked into tutorials for one and two-head lighting set ups better suited for product photography and am slowly beginning to learn the techniques of professional food photographers and simple additions and considerations which makes all the difference to the final image.
The tips below were taken from a fantastic article by Photoshelter, entitled Back to Basics: Food Photography Lighting and Styling, something I found hugely beneficial to my learning process and exploration in the world of food photography. In this post are food photographers Ricky Rhodes, Megan Young, Michelle Furbacher and Lincoln Barber, who have compiled their tips to share with aspiring food photographers.
1. Always keep white and silver bounce cards in your lighting kit
- To gently fill in any harsh shadows caused by window light
- Ricky Rhodes advises using these to bring details back into the deep shadows, ultimately adding more colour and texture to your images
- Michelle Furbacher says you want to avoid to much contrast so that food looks soft and elegant.
- Can also use these to direct more light onto the image to highlight certain features and make your photos "pop".
- If you're not into using these, silver reflectors and mirrors are great options, too.
- Megan Young prefers working with reflectors because they can be curved and bent to shoot shoot around. "I find reflectors easy to work with and handy to fold up and store."
2. Bring your focal point forward
Props and garnishes can help tell the food's story, but they should never distract from the main event.
Ricky Rhodes suggests focusing near the front edge of the food as it naturally draws the viewer in to the rest of the frame.
"You also typically want to shoot with the aperture wide open to deliver shallow depth of field and isolate the food in your frame."
Michelle Furbacher recommends finding the "hero" - the perfectly shaped raspberry, strip of basil, or trail of melting ice cream that looks like the part you most want to eat.
This is to create good bokeh - the out-of-focus and intentionally blurred areas of an image that are pleasing to the eye."A significant amount of blur to the background will make your focal point really pop," It leaves a little to the imagination, and also puts the focus on your hero.
1. Always keep white and silver bounce cards (or mirrors/reflectors) in your lighting kit
To gently fill in any harsh shadows caused by window light
To bring details back ingot he deep shadows, ultimately adding more colour and texture
2. Bring your focal point forward
3. When in doubt, shoot overhead
4. Build height
5. Mimic natural light
6. Compliment food with props of similar colours and interesting textures
7. Make minimal adjustments in post to remove distractions
http://blog.photoshelter.com/2013/05/back-to-basics-food-photography-lighting-styling/
http://www.the-aop.org/information/copyright-4-clients/faqs
Prepared shoot
http://robgrimmphoto.com/phlearn/
PACKSHOTS
http://www.lyndsey-james.co.uk/2012/11/packshots-and-cutouts/
http://www.alphashot.net
http://jonathanbowcott.com/other/pack-shots/
http://www.youtube.com/watch?v=-vi0zAfuX88 - DIY
http://www.youtube.com/watch?v=IIm-SZHKOW4 - karl taylor high-end
http://www.youtube.com/watch?v=f0GK0HsJTaE - ten tips
My chosen final images
This image shows a Chutney for Change volunteer prepping the glass
jars to be sterilized before filling, this is done on-site in the oven for a
specific amount of time. I used an ISO of 800 as the lighting conditions were
poor and a wide aperture to allow enough light into the shot and to create
shallow depth of field. Although a simple shot, I am drawn to it because of its
context and spontaneity as I took the image whilst the volunteer was in motion.
In this image is Rachel Gilkes, founder of Chutney for Change, in an
environmental portrait. I used a wide aperture of f/2.2 to ensure the focus was
on the subject, yet the foreground and background of products still visible. In
post-production I slightly took the white level down, increased clarity to
create minor shadows and and used the Mask tool to expose the subject’s face
more.
This image was intended to be a pack shot of just one jar, but I
chose to use three as I feel that the colours and tones of each compliment each
other well to help them stand out. I used an LED light directly facing the jars
and another underneath the table to light up the products as evenly as
possible. In post-production I slightly increased the exposure and clarity and
used the Mask tool to lighten the label in order to accentuate it. If I were to
re-shoot this image, I would use more light sources to achieve a fully white
background and reduce shadows and dullness on the products, thus making it look
more like a traditional pack shot.
This was a prepared shoot I organized to show the piccalilli product
in a prepared, ready-to-eat setting. I researched the most attractive food and
props to accompany the product and set everything out with the help of my
Pinterest inspiration. I used a white, shoot-through umbrella to diffuse the
light across the set up and an aperture of f/4.0 to ensure the main ingredient
was in focus, whilst the background and surrounding area is dropped out of
focus. In post-production I increased clarity and reduced the vibrancy so the
colour of the piccalilli really ‘pops’ in comparison to the other foods.
Lastly, I removed a few distracting crumbs which were on the table by using the
Clone tool.
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