Capturing Syrup Drips


Capturing Food in Motion


Lesson Info

Capturing Syrup Drips

Let's do syrup, let's get super messy. And Jack, I'm going to have you on trigger. Okay. Alright, this is a danger zone. Alright, here we go. You'll be on, you'll be on camera trigger. Yeah-- Yeah, not the-- Finishing getting that stuff recorded. Oh, thank you Jack. (chuckles) I should've wrapped these apple, I'm going to have apple box cleaning duty. Alright. Are you ready? Yeah. One, two, three, go! One, two, three go! One, two, three go! One, two, three, go! One, two, three, go! One, two, three, go! Oh, soft box! One, two, three, go! One, two, three, pour. (laughs) Alright. (class laughing) Thank you. Alright. I'm going to take a little mental break. (class laughing) I do like to use, like when you're on set like this, you can just throw stuff on the ground, doesn't matter. Napkins, okay so where are we? (chuckles) So we have all the components, we shot it, we're ready to go to post-production. I'm really confident that we have it. Those have good color. It's light e...

nough, if you were to do maple syrup, it'd just be a little bit too dark. This is really in the ballpark of what we're looking for. That doesn't mean you can't thin out syrup too. But you want, it's always, you end up always having to just dilute stuff all the time on set especially if you want light to go through it. Red wine. This is even a little bit dark, but I'm looking for stuff that detaches, that's why I did so much force. Now what I'll end up doing is if I find that none of these actually detached from the base, if I actually pulled it like taffy, it looks like taffy, right? If nothing detached, I'll actually put the end of something behind a pancake to give the insinuation that it broke away, so I'll hide that. If I wanted some to break away, I could actually have a tub, you know, up higher and just fling downward, but even then it sticks to your fingers, so there's always a little bit of Photoshopping to do, but if you actually crop it off and show that crop, the light won't bend along with that. It takes a long time to actually get that to look real. I can do it, but it takes a lot of time that you don't want to spend in Photoshop. So it's better to just have some tricks where you can bend this a little bit, but have it hide behind something and just be fortuitous with it. So let's pick out a few that are really good. Yeah, so this one, I think, has some real interest in the streams here. Yeah, I like that one a lot. I need to go-- I don't like that one. Nothing I, the only thing detached is this. Actually go back to that one. I'm going to have that trail off of a piece of bacon. Keep that one. So yeah, I've got this one marked. So you actually have to think, when you're looking at these, you have to think of where everything was that you shot, so I can actually say "Oh that's kind of, "that's a stupid image, but I know that "those tips, where my fingers are, "will actually attach to that upper right "piece of bacon pretty well "and it will actually work better than "some of the other ones that might on their own be good." So you want some believability to these. And sometimes you get lucky and you have to be ready for that luck and know what to look for. Okay. Yeah, and this one. Eh, nah. This one. That one's cool. Yeah I could actually, you could put a pancake right here where your hands are. Yeah. And the thing is, this is not easy to cut out, a pancake is easy to grab and move around. And we'll end up doing that, especially vertically. Or left and right, I'll kind of show you what happens when you do that though, you'll see. But my hands are in the shape of a pancake right now so it's easy to visualize the fact that that'd be a cool drip coming off of it. Even the container was in the air, that's cool. So, we have our final selected, so that's really the important part of this, while your head is fresh, you know what you shot is really good, you know, you know which ones were good, which ones weren't good, you make those decisions and you just flag them as picks. And then you make a decision. Sometimes we'll actually go through a system of one through five stars based on what we feel, like five is a definite keeper, four could be additional stuff if we want to, and then one (chuckles) or a zero. So that's really part of the process. So let's go into, now that we're done with the actual process of capture, I'm going to let Jack kind of get to work and we're going to leave this be.

Class Description

The food in an image is quite another thing from food on a plate in front of you. Food photographers have the challenging task of recreating the many sensations that draw us to a good meal - its aroma, warmth, the anticipation of taste - using only one of the senses. To bring foods to life in pixels and on paper, Steve Hansen liberates them from the stationary plate. He captures them in motion, crashing and splashing into each other.

Join veteran photographer Steve Hansen for this course, and you’ll learn:

  • How to capture your food in action by using the right flashes and strobes.
  • Which lenses and settings to use to capture your food and liquids in vivid motion.
  • The basics of post-processing for images of frozen motion, and how to enhance the image you take in-camera.

It will be fun and messy - the audience will be wearing slickers to protect their clothes from flying food and liquid. In addition to learning about the technical requirements for capturing food in motion, you’ll learn how to sell your images to editors, websites and magazines. Develop the confidence to bring more advanced techniques into your food photography practice, and make your photos stand out in the crowd.



This course is so fun to watch! I love how hands-on this course is even while watching it 3000 miles away on the other side of the country. I love how Steve Hansen is like a mad scientist just throwing food everywhere just to capture the "right moment". It's great to watch a professional at work especially the behind-the-scenes that we normally won't ever know just by look at the final product. It's amazing how much work goes into this and actually gets me excited to try my hands on capturing food in motion as well - first need to find a place that allows me to get it messy :D I do prefer this type of course set up than the lecture-style some of the other courses are.

a Creativelive Student

This course will NOT disappoint! So much quality info that can really help a photographer move to the next level. To see the actual shoots with food flying everywhere and how to capture all of it and turn it into an incredibly stunning image is worth every penny of the price tag. To spend an afternoon with Steve on a one to one basis would cost more than most of us could afford but that is exactly what this class offers! We see into the mind of an incredible artist and his creative process. This class has been invaluable to my personal education as a photographer. There is so much here and I will continually come back to it again and again to learn and refine my techniques and images. You opened up a world of possibilities to me with this class! Thanks Steve!!!

a Creativelive Student

I attended this class in person and I found it to be wonderful. Steve is awesome at what he does and he is great at explaining what he is doing and why he is doing it. This course will lay out all the steps needed to help you create awesome splash and crash photography. I highly recommend it.