Food Photography Props
the propping on this one was about like surfaces and, and experimentation. So that surface that's underneath the cutting board with the salmon on it is um a piece of copper that I had made by a metal, a metal workshop and the flip side is the one I purchased. The flip side was etched with acid and it was kind of brownish. It didn't have like a sheen to it because that's what I told him to do and I got it home and I hated it. So I flipped it over myself and I had a shiny copper background and I took lemons and, and vinegar and I squeezed it all over it and I let it sit there for a couple of days. And the idea was that if you are, and I looked at it and I said, well, well maybe one day I'll use it. I don't know what I can use it for. And in this particular shot popped up and I said, well, let me try it because it's kind of simple, but it, it adds something to the shot. And um that's the thing about propping is that you never know where they're coming from and you never know like what, wh...
en you're gonna use them. But anything that catches your eye as interesting that may fit into your workflow at any point is something worth keeping on saving. This is where having a warehouse or 500 square foot of storage, there's always comes in handy when you want to get a feel of something, you know, you want it to feel old or you wanted to feel fresh or you wanted to feel modern or whatever. The idea is that you could tell that story with the props because peach cobbler to me isn't modern, It's classic, right? So, when I found these cups for a buck at a yard sale, everybody asked that question. Um, I wanted to use them with the food that kind of matched the feel that was that was with it. So the idea of marrying the prop to the food in terms of feel and time and place and those kinds of things that always helps. Okay, this is an example of one of the things that I talk about in that when you have plates and bowls that are non reflective, this is the absolute best example of anything I have in my collection. This is called salt glazed ceramic. Now, salt glaze ceramic has no shine whatsoever. You could look at it from any angle and has no shine. So it's super expensive and it's really rare. But the idea is that if you get your hands on any of this stuff and anything that even looks like it, where it has no shimmer whatsoever. It's so essential in food photography to have some of these things in your collection, because it really, really helpful because I could shoot this plate from any particular angle and it's going to work. Okay, so the next three images are another story about the idea of creating an environment in that little space and how propping does all of that for you. So, this was a story about having uh drinks and a barbecue and at a lake house. Right? So it's all it's all about a lake house. So that in the story, the whole idea of running off the property and jumping in the lake and having a dock and all these things, all part of the story. So the propping had to kind of reflect that and it doesn't have to be completely grounded in reality. Right? This is obviously my attempt to make it look like a dock where, you know, the grass and the foliage are growing up around it and we got the drink. Are we setting the drinks up on the dock? Maybe? Maybe not. Are we making them like this? Certainly not. But the idea is that it's eliciting in a vision. We're reading the story about the weekend at the at the lake, right? And we get these images and immediately your brain connects them, right? I got a little bit of elements of all of the things that are being talked about in the story and it gives you the overall sense and just the suggestion of green and the way the light is coming through all of those things are suggestive of the idea of being at the lake. So that one and this one and this one all happened and you see this here in the background, right? at the top of the frame on the right hand corner, you see that kind of white thing that goes across. Yeah, that's the fire escape. Okay, so there's no fire escape at the lake. But you don't know that because the environment that we created in the angle that we took in the props that we chose give us the opportunity to put the viewer where we want to put them where the where the author of the article wants them to be. And I think that when the more you understand about how to build up your set and how to use all these elements in really tight spaces, you can create anything, like we talked about earlier is that the idea of picking the props that are appropriate and also using them the right way.