Plate to Pixel

by Helene Dujardin

  I was about to send in a number of photographs for a magazine feature, and it dawned on me that a picture of some of the ingredients in the recipe would add a nice touch to the the story. I didn’t feel like loading up a tray and going upstairs to the studio, so I set out a simple white napkin on the bathroom floor—where the second-best light source is at my house—and I snapped a few overhead shots. Of course the bathroom is not an ideal location for food photography; but in a pinch, it might serve a “quick fix” purpose.

  The key is to observe and make use of the opportunities available to you based on the circumstance you face. Being flexible because of space or schedule constraints is just as important as being organized about that space. (See content below for my thoughts on accessibility.)

  If you have tripods, flashes, softboxes and other lighting equipment, consider setting up in an area with minimal risk of kids or pets tripping over cords. As much as I like the company of my dogs when I work, they are more concerned about rushing to the front window to bark at passersby than avoiding my equipment cords.

  Kids are (a bit) different. When your children are old enough to understand what you’re telling them, enlist them as your assistants and stress the value of your photography equipment. Let them help you set up and break down. Who knows … they just might get the photo bug, too.

  Of course, if you do a lot of on-location shoots, roaming pets and children will probably not be an issue. Just make sure to pack and pad your camera bags appropriately … and label them fragile … so that people around you pay attention.

  Accessibility

  If you spend a lot of your time taking pictures, or if photography becomes your full-time job, you might want to consider a separate room for your work—spare bedroom, den or perhaps just a part of a room—to create an area that will be yours. This will enable you to keep your gear and props nearby.

  For any props that are dedicated to your photography—and not used regularly by your family—you might want to create shelving or drawer space, and keep everything handy and organized. Place linens on one side, plates and glasses on another. Use large tumblers to store special silverware that you use for pictures.

  Taxes

  If your photography becomes a business venture, be sure to learn about tax laws in your area. Find out about working from home as a small business.

  Yet if your food photography is a minor part of your life and you can’t … or don’t want to … let it invade on your space, consider creating a simple and portable setup. That is, find a nicely lit area that’s good for photography (read more below), and then invest in some storage bins. One could be labeled gear for your reflectors, bounces, lenses, etc.; another could be linens for your favorite tablecloths and napkins. A third bin could be plates & flatware if you wish to reserve these items for pictures and not have them handy for everyday use.

  The amount of surface space you need to shoot your images depends on whether you prefer macro shots or whole-table setups. As shown in the bouncing and diffusing setups, my work area is nothing more than a large piece of wood (48 x 36) set on sawhorses … even though my studio is a large room.

  No matter what size surface you choose, be sure to position it so you can circle it. Since light comes from different directions at various time of the day, and different viewpoints offer different effects, you’ll likely need to use all sides of your surface—eventually.

  My table, for example, is pushed against the wall that holds the window. I never like the way my pictures look when I have the sun coming from behind me. Remember, this is called front light. (See Chapter 3: Natural Light Photography for information on the impact of light’s direction.) But I like to be able to use the light as back light sometimes or side light, depending on the atmosphere I want to create.

  Storage within Reach

  When I first started taking photographs of food … on that little coffee table … I used my family’s everyday plates, cups and flatware. And as I got more and more into it, over time I started collecting other props to enhance what I already had. I still don’t have a huge collection of props, but I have favorite pieces that are used only in photos–not for actual dining.

  To store these items, I cleared space in a closet near my camera setup. One side hosts my dishes, the other the linens. I also created some extra shelving space in the closet for camera bags, lens sleeves, cords, light bulbs, batteries, etc. I’ve found that having a dedicated drawer, box or bin for such items saves me an incredible amount of time and stress. It’s nice to know where to access my equipment quickly.

  I also advise you to clear your work area of clutter. An open space will allow you to move freely … and quickly, if necessary.

  I can never stress enough that your camera does not make the pictures you get. Along with the available light, your subject and surroundings, your camera is but a single element in the creation of a photograph. So it’s important to understand how lighting, framing a scene and other fundamentals impact an image. Because ultimately, your creative outcomes depend on how and where you put this understanding into action. Develop a functional space to achieve your best work. Then, start planning.

  Plan the Shot

  When it comes to preparing for a shot of food, much of the work begins before the dish is cooked—whether you’re the one cooking or not. Below are some steps you can take to facilitate the composition and styling process.

  Explore your Recipe

  Especially if you are responsible for cooking and styling the dish you plan to photograph, be sure to take a look at the recipe before you make decisions about your shot. At a minimum, be aware of the ingredients involved and try to visualise how the ingredients will look once cooked. To examine this step, let’s look at a recipe.

  Sweet Potato & Black Bean Wrap (Serves 2)

  For the dressing:

  1/2 cup fresh cilantro leaves, packed

  1/3 cup Greek yogurt

  1 tablespoon milk

  1 tablespoon freshly squeezed lime juice

  1 garlic clove, minced

  ¼ teaspoon ground cumin

  2-3 dashes of hot sauce

  Pinch of salt

  1 cup sweet potato, diced into ½-inch cubes and cooked until tender

  1 (15.25 oz) can black beans, drained and rinsed

  2 scallions, finely chopped

  2 (8-inch) multigrain tortillas

  Make the dressing: Finely chop the cilantro and fold into the yogurt in a medium bowl. Stir in the milk, lime juice, garlic, cumin and hot sauce. Season to taste with salt. Reserve.

  Cook the sweet potatoe cubes in a pot of boiling water until just tender, about 10 minutes. Drain and cool to room temperature.

  To assemble the sandwiches, gently stir together the cooled sweet potato, beans and scallions in a medium bowl. Divide the mixture evenly among (the center of) each wrap. Divide the dressing between both wraps and roll, tucking in sides to firmly close.

  Recipe adapted from House Calls Magazine Spring 2010

  While reading the recipe, I made mental notes of things that could help with the styling or provide ideas for composition. For instance, the dressing called for cilantro, so I set aside a few whole leaves to garnish the plate and stored them in water in the fridge. I also noted that the recipe (pretty much) said to avoid overcooking the sweet potato. We’ll want to keep it tender but not mushy.

  Sweet Potato & Black Bean Wrap: The open-face style lets you showcase the ingredients in the recipe.

  f/6.3, ISO 200, 24-70mm L

  There’s not much to consider regarding the wraps themselves, but there are enough differences in the textures and colors of the ingredients to make an interesting photo featuring this recipe. Being unsure of my folding ability, I decided to fill one wrap and take a picture of it open faced. So if my rolling and tucking ended up a catastrophe, at least there’d be a good photo of how the wrap looks on the inside. The viewer can easily imagine the rest.

  Once that shot was in the can, so to speak,
I gently rolled and tucked as the recipe directed … without being overly cautious or slow. I just tried not to pat or mush things down too much. But then I realized that my chopped scallions were no longer visible; they were engulfed under the weight of the black beans. Nevertheless, I could have stopped there and taken a decent photograph. But I took an extra five minutes to chop half a scallion and sprinkle it on the wrap. I also dabbed a little more sauce on the wrap with the tip of a knife. Voilà.

  The point is, considering the finer details of a shot doesn’t take more than a few extra minutes; yet it can make something as casual as a wrap look extra delicious. Seriously, the chopping and dabbing didn’t take that much extra work and it makes a big difference. It’s like making sure that your socks match or that your scarf really goes with your outfit.

  Stuffed foods are also fun. Let’s look at crepes. A few months ago, I wanted to photograph one of my favorite desserts for my blog: gluten-free crepes filled with roasted persimmons slices. Mmm …

  Sweet Potato & Black Bean Wrap: It’s rolled and tucked gently to preserve the integrity of the ingredients.

  f/3.5, ISO 400, 100mm L

  I took a picture of an unfilled stack of crepes. Meh. I took a picture of a filled crepe. Better. But I could barely see the slices of persimmons sticking out. And even though I knew that my readers—by reading the title of the dish—would know they were persimmons, someone browsing at random through my pictures may not. So I gently pulled a couple slices closer to the edge, positioned the crepe in the foreground to ensure it would clearly be the main focal point and then placed a serving of the stuffing, the roasted persimmon slices, on the side. This allowed me to show the stuffing. It’s in soft focus as a suggestion, while the final dish is sharp.

  Use the same technique for photographing foods that taste fantastic but don’t look very pretty when cooked. It can be a challenge to photograph crumbles for example. Before it is cooks, everything looks plump and the dish has interesting shape and texture. But out of the oven, it often looks flat. It’s a delicious dessert but challenging to convey this in a photograph.

  Stuffed Crepes with Roasted Persimmons: A sample of stuffing is used as a prop to show what’s inside the crepes.

  f/3.5, ISO 500, 24-70mm L

  My family eats 99% of the food I photograph, and I want my pictures to show what a dish really looks like after following the directions for baking and cooling. So I always look for steps in the recipe that can help keep things look appetizing.

  In the picture of Cherry Crumbles (right), I did not cover the entire surface of the dish with the crumble mixture, as the recipe instructed. Instead, I reserved about a quarter cup of it for styling. I also pulled aside the best-looking cherries to use as natural props. And, finally, knowing that the ice cream was another important component of the story I was telling, I placed some in a little container … just in case I decided to position some on the side. So when time came to compose, style and shoot my photograph, I was ready with all the elements I needed—all a part of the recipe—to describe and enhance my dish! That allowed me to focus on the dessert, and it helped me to avoid cluttering my composition with extraneous props.

  Whenever a dish you’re photographing includes a stuffing that looks presentable before being assembled and cooked, think about reserving a small portion for your composition. Consider it a way to say, “You can’t really tell what’s inside once this is cooked, but it looks like this before everything comes together.” It may not always work, but it’s worth a shot. (Pun intended.)

  Extra ingredients for the Cherry Crumbles recipe were reserved to be used as natural props.

  f/4.5, ISO 250, 50mm L

  Now, say you’re the photographer and food stylist but not the cook. Let’s imagine that you’ve been asked to photograph a few dishes at a restaurant. And you have some time to set up your camera, consider the composition and style the food before capture. Be sure to request a few favors that will help you create a nice shot.

  • Ask to have access to the recipe before you arrive at the shoot, and make notes for the chef to set aside garnishes. Start thinking of colors in the dish and what props, linens and other materials might complement these colors.

  • Ask that the dish be made as fresh as possible for the shoot and that the ingredients are not overcooked. This will keep colors vibrant and textures firm, which will facilitate your styling process.

  • If the dish is served plated, nicely ask the chef to hold off on placing the garnishes, so you can arrange them on the plate yourself.

  Be ready ...

  The longer food sits out while you’re getting ready for capture, the more it loses appeal, color and shape. Keep the amount of time short between cooking and shooting to make styling easier. Plus, the food will be as close to chef’s vision as possible.

  You might encounter some resistance to these requests. So be aware that as artists, chefs and photographers alike have strong feelings on how their creations should look. Respond to any possible offense by mentioning that you simply want to keep everything on the plate as fresh and vibrant as possible for the photograph. Always explain what you are doing and why—whether you move a piece of fennel to avoid it catching too much light or you spritz some water over a dish to spruce it back to life. Respect the pride of the chef and let him/ her know that your requests are being made only to ensure that the food is represented as well as possible in the photo.

  Pasta with Mushrooms and Fresh Herbs: Teamwork between a chef and stylist can enhance a photograph.

  f/3.5, ISO 200, 100mm, Macro L

  In the picture on the left, I was working on a magazine feature that focused on what chefs cook at home for themselves and their family. A week before the shoot, I asked the chef to send me the recipes he would be cooking. I wrote little notes for him:

  Can you cook this right before picture?

  Can you undercook the pasta just a little, so it won’t fall flat right after plating?

  Can you set aside some parsley for garnish?”

  I showed up a little before the shoot, and I asked him to talk me through every recipe—what it was, the origin, the history, the significance. It was important to know if we were trying to convey a modern or a classical setting, a casual or fancy one … so that I could gather the right flatware, glasses, dinnerware, etc. It also assured him that I would be portraying the dish as the feature had been described to him.

  I explained that everyone involved in the project—the art director, magazine editor, article writer, etc.—had been working on this project by holding pre-production meetings that began as soon as he was contacted to be featured. The magazine writer talked with him about the recipes and anecdotes that would be featured. The art director talked with me about location, props, styling and linens. As a team, we made lists of the items we would use from the chef’s collection and mine, and we decided what color palette we’d use and what the general feel of the feature would be.

  Look at the Menu

  If you are responsible for the photography only, you probably won’t have the opportunity to weigh in much on the preparation, cooking and styling of the food before taking your shots. That’s okay. You can still get great photographs.

  At restaurants or events, when you don’t have control over styling … and composition is dictated by the surroundings … focus on getting your camera settings right. The rest will follow.

  f/2.8, ISO 400, 24-70mm L

  Say you’re at an event and you are asked (or you simply want) to take pictures of the different dishes that are presented. If there’s a menu, look through it and try to prioritize what you want to capture. Fully dressed salads are going to wilt fast because of the acidity in the vinaigretttes, so it might be a good idea to locate these first and fire quickly when they’re presented. And anything coming out “fresh from the fryer” or “fresh from the oven” or “fresh from the grill”—like fries, pizza, burgers, chops—will lose the shine quickly, too. So always be aware of the k
ind of event you are attending (e.g., buffet, tray service, hors d’oeuvre stations) and be prepared to target and deploy to get the best results.

  If, on the other hand, you’re at a restaurant where you’ll start with appetizers and end with desserts, study your surroundings. What type of light is in the room and how much of it is available? Do you need to diffuse or bounce the light? Can you shoot in natural light alone or do you need a boost from an artificial source? Make a little checklist of sorts before deciding on your camera modes and settings.

  Say please.

  When preparing to take photographs at a restaurant, be sure to get permission from the manager or owner. Verify that you are permitted to take pictures in the venue. And please, take your pictures quickly and effectively so that you do not ruin your own or your dining companions’ experience.

  Since the table props and look of the dish are out of your control in this situation, focus on your camera settings. Make sure your exposure is set correctly and that your ISO and white balance are ready for capture—before you receive the food.

  Once you are presented with your dish, it’s okay to take a few seconds to clean up a splatter and to remove or re-position a garnish, but try not to make it a long styling session. The chef might be annoyed if (s)he sees you tweaking a lot of what (s)he has prepared, and I am positive that your dinner companions are much more interested in talking with you than watching you play with your food and camera.

  Think more about exposure, focal points and your camera angle when you can’t modify plating and styling decisions.